Cctv newsAt 15: 00 on April 20th, the People’s Bank of China held a press conference and answered questions on the financial statistics of the first quarter of 2023.

　　Ruan Jianhong, director of the Survey and Statistics Department of the People’s Bank of China, said that at the end of March, the balance of M2 was 281.46 trillion yuan, up 12.7% year-on-year, 0.2 percentage points lower than the end of last month and 3 percentage points higher than the same period of last year, and the growth rate of M2 remained at a high level. The balance of M1 was 67.81 trillion yuan, up 5.1% year-on-year, 0.7 percentage points lower than last month and 0.4 percentage points higher than the same period of last year.

　　The growth rate of M2 is relatively high, mainly due to the financial system’s efforts to strengthen financial support for the real economy and the corresponding increase in derived currencies. The first quarter is the peak of financial institutions’ credit supply. In the past two years, the new loans in the first quarter accounted for about 40% of the new loans in the whole year. In the first quarter of this year, there were more loans from financial institutions, with various loans increasing by 10.6 trillion yuan, an increase of 2.27 trillion yuan over the same period of last year. At the same time, the bond investment of financial institutions has also increased. In the first quarter, the bond investment of financial institutions increased by 2.42 trillion yuan, 498.6 billion yuan more than the same period of last year. Among them, government bond investment increased by 1.79 trillion yuan, accounting for 74% of the total bond investment increase, which is related to financial institutions’ support for government bond issuance.

　　The return of asset management funds to the balance sheet is also an important reason for the rise of M2. Since the second half of last year, the financial market has fluctuated, the risk appetite of the entity sector has declined, the funds of asset management products such as wealth management have been transferred back to the balance sheet, and the bank’s balance sheet has expanded, which has pushed up the growth rate of M2. At the end of March, the assets directly summarized by asset management products totaled 94.7 trillion yuan, down 1.6 trillion yuan from the beginning of the year, with a negative growth rate of 4.2% year-on-year, 8.1 percentage points lower than the same period of last year. If the on-balance sheet and off-balance sheet are combined, the general liquidity of the society can be seen comprehensively. At the end of March, the total liquidity increased by 10% year-on-year, 1.3 percentage points higher than the same period of last year and 2.7 percentage points lower than the growth rate of M2. Overall, the general liquidity growth is relatively stable.

　　The growth rate of M1 is relatively low. On the one hand, the macro-economy is still in the recovery stage. In the first quarter, the questionnaire survey of entrepreneurs of the People’s Bank of China showed that the macro-economic heat index of entrepreneurs was 33.8%, up 10.3 percentage points from the previous quarter, but down 1.9 percentage points compared with the same period last year. On the other hand, financial institutions have provided more abundant deposit products, some enterprises have strengthened the management of deposit funds, and their demand deposits have decreased accordingly.

1. In the red flower field, people line up to carry a laundry list.

2. The endless rape fields let me see the golden harvest.

Even when the sun goes down, the rivers are still running.

4. Sailing in Wan Li, I finally found a place to dock.

5. The suspension bridge on the turbulent flow is a brave game for adventurers.

6. Leaves dyed yellow in autumn wind symbolize the good news of farmers’ autumn harvest.

7. In the water market, the ships make way and become crowded.

8. Leaves falling in the four seasons gather in this Xiaoshi Pond.

9. Clear river, everything underwater is so clear.

10. The stone ladder dug a long time ago, I really want to touch the historical relics.

11. The ancient temple is like a golden bell.

12. Monks and children who are boating and picking lotus flowers, how harmonious everything is.

13. The boy poured out the collected flowers, and I seemed to smell the flowers.

14. Do you want to see the staircase leading to the underwater Dragon Palace?

15. A quaint town with a palette on the ground.

16. The lamps in the garden are like seven-color glass, which is so beautiful.

17. I really want to sit alone in the mountain attic and watch the fallen leaves return to their roots.

18. Riding a canoe is also a comfortable and good choice.

19. It’s so beautiful to see the moon so close for the first time.

20. The fishermen spread their nets and caught them just in time.

21. On the reef, the sheep are still waiting for their master to go home.

22. Over the long bridge, looking at the gloomy Woods, time will also slow down.

23. The mysterious stone array by the sea is indescribable.

24. Yunnan terraces are really beautiful.

25. The ceremony of tracing back to the ancient times, I really want to join in the fun.

26. Porcelain from the East amazed the world.

27. The ceiling of the church is painted very delicately.

28. People who live at the top of the mountain are accompanied by Xiangyun.

29. Is this the house of the snail girl?

30. This tree is a little old, and you can see it.

31. Really, a village built in a mountain.

32. The layers of forest are all dyed and look golden.

33. Such a big pumpkin is a bumper harvest.

34. The interweaving of green and yellow reveals new vitality

35. The once-in-a-lifetime Zi Xia is beautiful.

36. it is hard to go, it is hard to go

37. The carving art on the temple is lifelike.

38. A magical shirt collision, the clothes are exactly the same as the floral decorations on the wall.

39. I wish I could see the delightful pink if I opened the door.

40. Wow, is this ink painting? Isn’t it beautiful?

41. Where does this road lead? Is it a misty mountain?

42. The colorful mountains and rivers of the motherland are beautiful.

43. The herdsmen are weaving brocade. Will you give me one?

44. neatly stacked salt mountains

45. The goddess statue on the ancient temple is graceful.

46. Is this the reflection of the sun? Or did it sink to the bottom of the sea?

47. It’s good to admire colorful western buildings occasionally.

48. Let’s fly this Kongming Lantern together and pray for our family and friends.

49. Green water and green mountains are full of vitality.

50. Flowers are in full bloom, where are the butterflies?

51. The stone bridge built between the giant peaks is a miracle built by man and nature.

52. What clear sea water is rare now.

53. The magnificent palace, even the reflection is amazing.

54. Flowers and lanterns are like a dream.

55. Old friends, you should always find beautiful scenery in the yard.

56. If you have the opportunity, you can only know the fun of the world by taking a trip abroad.

57. Smell the fragrance of flowers yourself, and your body and mind will be comfortable.

58. Living in a small house on the shore, watching geese fly and flowers bloom.

59. The closest thing is often the most beautiful.

60. Looking at the outside world with a generous heart can yield more surprises.

61. Happiness is nothing more than happiness when you get it.

62. If you look at it from another angle, you will have a different scenery.

63. Old castles can shine in the sunshine.

64. What’s the name of this flower? Does anyone know

65. The ship seems to be floating in the air.

66. The river freezes, and under the ice is another wonder.

67. casting a net is like dancing. Indeed, art comes from life.

68. Looking at these full grains, I feel very happy.

69. Under the auspicious five colors forging, can you guess what it is?

70. The market on the corridor is quite interesting.

71. Holland, the capital of windmills and the country of tulips.

72. The sky has changed, and the wind is surging.

73. Is such a strange stone higher than the sky?

74. Blue and deep caves, does anyone want to explore with me?

75. A jewel-like house must not be cheap.

76. Colorful flowers bloom and secret scenery is sent to you.

77. Magnificent mountains and rivers, magnificent homes.

78. If I can, I’d also like to have a panoramic view of the summit.

79. How much I want to see the beauty of this world.

80. How I want to put those rare wonders into my heart.

81. Friend, I’ll send you some green eye protection pictures to make your eyes comfortable.

82. Green is full of vitality.

83. Green is full of vitality.

84. Green is a natural business.

85. Finally, I give you a lucky koi fish. Everyone who wishes to meet you will have good luck!

(source: inheriting classics, only for non-commercial information transmission. If your legitimate rights and interests are infringed, please contact us, and we will delete them in the shortest time and apologize. )

Lotus, a brand that may sound strange but has some familiarity, carries the pursuit of extreme lightweight, excellent handling and pure driving pleasure in the hearts of fans. Its alias "Lotus" is also memorable. It originated from a long-standing British sports car manufacturer, which covers hundreds of thousands of pure performance sports cars and tens of millions of super sports cars. However, in China, there are few Lotus models that can really cross mountains and run unimpeded.

Since Lotus EMIRA was listed on the China market in 2021, the territory of Lotus in China has been officially launched. Subsequently, Lotus quickly launched its first pure electric supercar SUV——ELETRE, which made its debut in March last year. The outside world is full of expectations for the future performance of this SUV and the development blueprint of Lotus in China. In addition to the eye-catching design, Doug is curious about the actual handling performance of this new car. Finally, at the end of 2023, Brother Dou conducted a real car test drive in Beijing. First, let’s take a look at the static performance of this car.

In terms of appearance, Lotus ELETRE is completely different from other pure electric vehicles on the market. Generally speaking, pure electric vehicles may emphasize a sense of technology or futurity, but they should avoid being too "fierce" in appearance. However, Lotus ELETRE has adopted the opposite design concept. Through a large number of sharp lines, the vehicle’s "aggressiveness" is deliberately enhanced, which is in sharp contrast with other pure electric vehicles in visual effect and has a unique style.

The appearance of ELETRE left an impression on Douge mainly because it was full of unique "perforated" design. Described in professional terms, this is the so-called "porous design", and this design element can be described as one of the three magic weapons that Lotus is proud of, paying tribute to EVIJA, a tens of millions of electric sports cars. On ELETRE, this unique design presents seven groups of holes, which are located under the air intake grille, headlights, headlights obliquely, hood edge, wheel cover trailing edge, C-pillar end and taillights.

The size of these pores is very clever: they are not as exaggerated as EVIJA, but they can make people fall in love at first sight and produce a strong "sports car" visual effect. Don’t think that the porous design is just for "looking good". In fact, it can generate a downward force of up to 90kg, and with the two-section open tail, it can provide the owner with a driving pleasure of "flying close to the ground". No wonder it is called "aerodynamic pioneer".

The design of Lotus ELETRE is mainly based on two considerations. First of all, the use of sharp lines can make the body fuller, which is in line with the design style of many coupes. After all, Lotus has more than half a century’s experience in coupe design, so it is unrealistic to let ELETRE give up the coupe attribute.

Secondly, the design team took aerodynamic factors into account, which is also the focus of the following article. Aerodynamics has always been closely related to automobile design, and many models will consider some aerodynamic problems in the hub and tail. However, the design team of Lotus ELETRE is almost obsessed with the concept of aerodynamics, and aerodynamic problems are considered everywhere in the design of the whole vehicle. If a design does not conform to aerodynamics, then the design will definitely compromise for the needs of aerodynamics.

In terms of tail design, Lotus Eletre adopts design elements such as split wind-breaking tail and active tail, aiming at providing sufficient downforce for the vehicle and ensuring stability when turning at high speed. This design enables the vehicle to maintain excellent handling performance at extreme speed, providing a safer and more reliable experience for driving.

In the interior, Lotus ELETRE shows an unforgettable sense of technology. The new car didn’t use those huge giant screens that connect left and right, but chose a 15.1-inch central control screen. This design adopts the symmetrical layout of the main driver and assistant, with a 12.6-inch screen on each side. In addition, the central armrest of the rear row is also equipped with a huge multimedia screen to clearly transmit the route and data of the vehicle to the rear row. The front and rear central screens support angle adjustment, which provides a more convenient experience for drivers and passengers.

What impressed Douge was the octagonal steering wheel adopted by ELETRE, which was equipped with two paddles on the left and right: the control button for energy recovery on the left side, including three gears and a close button; On the right is the choice of driving mode, which provides five driving modes-personality, sports, comfort, economy and off-road, and each mode corresponds to a different cruising range. These design details make the interior of ELETRE not only full of science and technology, but also meet the diverse needs of drivers for driving experience.

In terms of intelligence, unlike the electrification products of traditional car companies such as BBA, Lotus ELETRE has entered the field of intelligence without hesitation. The vehicle is equipped with 34 sensor devices, 4 laser radars, 12 ultrasonic radars, 2 millimeter-wave radars with 4D imaging technology, 4 millimeter-wave radars, 4 2-megapixel panoramic cameras and 7 8-megapixel HD cameras. All these data links will be completed by the computing power (up to 508Tops) of two NVIDIA Orin car specification chips. This set of intelligent technology system not only enables Lotus ELETRE to achieve high-level intelligent driving assistance above L2.5 level, but also can achieve excellent functions such as super image rendering and 3D image.

In terms of power, ELETRE offers two versions, both of which are dual-motor four-wheel drive versions. The maximum power of the S+ version of the drive motor reaches 450kW, the peak torque is 710N·m, and the acceleration time is only 4.5 seconds. The maximum power of the top model R+ version is as high as 675kW, the peak torque is 985N·m, the acceleration time of 0-100km/h is only 2.95 seconds, and the shortest braking distance of 100km/h is less than 33 meters. Judging from these figures, no matter which power version, Lotus ELETRE can meet those consumers who have high performance requirements.

Lotus ELETRE continues Lotus’s 70-year experience in chassis adjustment, and realizes a more stable cornering posture through active electronic stabilizer. The free switching function of air suspension not only provides enough support stiffness, but also brings comfortable driving experience to drivers. The rear wheel active steering system provides agile steering induction at low speed, while maintaining stability and safety at high speed. It integrates continuous damping adjustable shock absorber, body stability control system and One-Box braking system, and can also be equipped with track-level carbon ceramic braking system to achieve a perfect balance between comfort and handling.

In terms of charging efficiency, Lotus ELETRE can charge the vehicle to 80% in about 20 minutes. This rapid and efficient charging speed fully meets the charging efficiency standards of mainstream new energy vehicles, and also provides considerable cruising range for vehicles.

Next, I would like to share with you the true feelings of Doug in the test drive of Eleetre. After all, the handling performance is a highlight of this Lotus Eleetre.

Excellent control

When Douge is waiting for the traffic lights, the green light comes on. As long as he lightly steps on the gas pedal, ELETRE will respond in seconds. It can be said that the brakes and the gas pedal are quite sensitive, and he will respond when he moves his toes.

In addition to the amazing acceleration performance, the car’s cornering and lane changing performance is quite stable. This is due to the precise steering wheel, which makes Brother Dou feel very real. In addition, ELETRE also adopts dual-cavity air suspension design, 6D intelligent chassis system, CDC continuous damping adjustable shock absorber, and high-end configurations such as height adjustment of 25 mm to 50 mm. In dynamic driving, these configurations greatly improve the sports performance of the whole vehicle, and at the same time instantly improve the support stiffness, which brings a more comfortable driving experience for Douge. Especially when turning a corner, the handling feeling of the vehicle is excellent, and there is almost no obvious roll, just like driving a high-performance car, so people can safely pass the corner quickly.

Comfortable online

When charging, Brother Dou deliberately sat in the car and tried to call a friend through the car, but the friend said that he could not hear him, which fully demonstrated the outstanding performance of ELETRE in sound insulation. In addition, even if driving at a high speed of 120 kilometers per hour, there is almost no motor sound in the car, only slight wind noise and road noise. In addition, the seat design of ELETRE is very comfortable. After about 200 kilometers of test drive, the fatigue is not obvious, which is very important for long-distance travel.

Written at the end: Compared with BBA’s current pure electric SUV, Lotus ELETRE has shown outstanding advantages in pure electric platform, pure electric technology, cruising range, technology configuration and power performance, and won the competition at the starting line. In addition, from the perspective of sports cars, its potential opponent may be Taycan from Porsche. In any case, at present, Lotus ELETRE has obvious competitive advantages in all aspects. Although Douge’s test drive time is not too long, he mainly experienced the road conditions such as urban roads and crossing expressways, but he can still clearly feel the careful adjustment of Lotus ELETRE in the "three big pieces" of motor, electronic control and chassis, reaching the level of super-running. Of course, if the price can be more close to the people, I believe the recognition of Lotus ELETRE will be further enhanced.

On November 5th, the round-table forum "The Long River of History-Translation and Research of Historical Records" hosted by China Renmin University and co-organized by Peking University Publishing House and Boya Forum of Peking University was held in Suzhou Campus of China Renmin University as one of the activities of the second sub-forum of the 8th World Sinology Congress "Sinology and the Translation and Introduction of China Classics".

The forum was hosted by Associate Professor Huang Hongyu, Associate Dean of the School of Humanities and Social Sciences of Harbin Institute of Technology (Shenzhen), and attended by experts and scholars such as Professor Han vans ESS from the University of Munich, Professor Su Peng from Nanjing Normal University, Associate Professor Zhang Zongpin from Shaanxi Normal University, Professor Sun Bao from Qufu Normal University, lecturer Yu Jianping from Shanghai Normal University, Dr. Kuang Yantao from the University of Munich and editor Ma Xinmin from Peking University Publishing House. The keynote speaker was Ni Haoshi, a famous American sinologist and translator.

Group photo of some participating scholars

The host Huang Hongyu is a disciple of Ni Haoshi and an important participant in the English translation project of Historical Records. At the beginning of the meeting, Huang Hongyu first introduced Professor Ni Haoshi’s achievements in the translation and research of Historical Records, and the publication of his research collection "Long River of History". Ni Haoshi is currently Halls-Bascom Chair Professor in the Department of East Asian Languages and Literature at the University of Wisconsin-Madison. His translation of Historical Records has spanned more than 30 years and is the largest English version of Historical Records in the world. In 2020, Ni Haoshi won the 14th Chinese Book Special Contribution Award for his outstanding contribution to the study and translation of China’s ancient literature and the promotion of exchanges and mutual learning between Chinese and foreign civilizations. "Long River of History" is the first collection of his research achievements on Historical Records in the past 30 years and translated into Chinese for publication. It is also the platform achievement of "Ancient Chinese Characters and Chinese Civilization Inheritance and Development Project" of China Renmin University.

Professor Ye Han from the University of Munich, Germany, first made an online speech. Ye Han is a sinologist and a Mongolian scholar, whose research interests are China’s history, Confucianism and Central Asian studies related to China and Mongolia. He is currently the vice president of foreign affairs and the chief professor of sinology at Munich University. His book Politik und Geschichtschribung Imalten China. Pan-Mai-T ‘ung Ban Ma Yi is one of the most important works in the study of Historical Records and Hanshu in the West. Ye Han first expressed regret that he could not attend the event on the spot, and then sincerely and emotionally recalled his experience of acquaintance and cooperation with Ni Haoshi. Both Ye Han and Ni Haoshi studied under Professor Friedrich Bischoff. When they were students, they heard Ni Haoshi’s name and his work many times. In 2001, when Ni Haoshi proposed to establish a translation project of Historical Records in Germany, Ye Han was less than 40 years old. He recalled that he was probably influenced by some unfair comments on Ni Haoshi’s English version of Historical Records at that time and had no definite and clear ideas about his future academic career, so he did not show much interest in Ni Haoshi’s proposal at first. Yip Han pointed out that there will be all kinds of opinions and criticisms about a work, but if you really want to know whether a book is valuable, you must read it yourself, not just judge it based on other people’s comments. Ye Han also told some details and interesting stories about their translation workshop.Years of cooperation have made him and Ni Haoshi close friends. Ye Han mentioned that in 2018, he and Ni Haoshi met at Elling O. Eide Center in Sarasota, Florida. Professor Bishop had told him many stories about this place, and this experience was of extraordinary significance to him. Ye Han also mentioned the latest translation of Historical Records published last year, which is of special significance because it was born during the epidemic. Yip Han concluded that the translation of Historical Records has been a cross-world project for many years, bringing together scholars from the United States, China, Germany, Britain, Russian and other different places. In the past 22 years, it has been a wonderful and very important experience, not only in terms of academic achievements, but also in terms of friendship and bringing people from all over the world together. Ye Han said that there is still a lot of work to be done in the future, and I thank Ni Haoshi for everything he has done for himself and everyone.

After Ye Han’s speech, Ni Haoshi made a brief response. Ni Haoshi said that over the years of cooperation, he and Yip Han have become very close friends. He trusts Yip Han very much in both work and personal affairs, and they have many good memories in common. Ye Han’s familiarity with Historical Records and Hanshu is very important to the translation team. When he wanted to stop or give up, it was Ye Han’s support that kept him going for so many years. He is very grateful to Professor Yip Han for his participation.

Ye Han and Ni Haoshi

The second speaker is Professor Su Peng from Nanjing Normal University. Su Peng participated in the revision of the school-based Historical Records by Zhonghua Book Company. As a main member of the revision group, his personal research interests are mainly in the study of classics, ancient calligraphy documents and related ancient manuscripts in the pre-Qin and Han Dynasties. Su Peng first briefly reviewed the revision of the Chinese version of Historical Records, especially the adjustment of page numbers and layout before and after printing. Then Su Peng talked about the reading experience of The Long River of History from three aspects. 1. Take Ni Haoshi’s investigation of He Cijun’s life experience (2009) as an example. When he translated the text of Historical Records word by word, Ni Haoshi also made a careful investigation of the key figures related to each version of Historical Records, but he only began to pay attention to He Cijun in 2014 and made some investigations. Second, from the article Historical Records and Hanshu —— Taking the biographies of Gaozu and Gaodi as examples, Su Peng paid attention to the study of Historical Records by Ni Haoshi and discussed the text problems of Historical Records, such as the relationship between Historical Records and Hanshu and the compilation of Historical Records. Taking the secret cabinet book "Biography of Gaozu" in the Japanese Imperial Palace as an example, Su Mi pointed out the complexity of the compilation of Historical Records and the so-called "Banma Similarities and Differences", and emphasized that we should pay attention to the canonization process of China classical documents. Third, the translation process of Historical Records described in detail by Ni Haoshi is the process of close reading of the text. Taking pages 14-16 of the book as an example, Su Xiang borrowed the words from Feng Yi’s "A Talk in the Guiyuan" in the Tang Dynasty and praised Ni Haoshi for "the degree of gold and people".Make readers understand the method of text close reading and realize its importance. Su Peng finally concluded that we should pay more attention to the research results of overseas sinologists, which is not enough in the field of traditional classical research. In addition, even in today’s convenient data retrieval and research, it is very important for both China scholars and foreign scholars to read the text carefully.

Associate Professor Zhang Zongpin of Shaanxi Normal University is interested in Qin and Han Dynasties literature and writing this literature. He visited the University of Wisconsin-Madison from August 2017 to 2018, and his co-tutor was Professor Ni Haoshi. Zhang Zongpin said that during his study in Madison, Ni Haoshi’s Historical Records translation team would make him have a deeper understanding of the Historical Records text and its translation. Cross-cultural text translation not only needs to reconfirm the meaning of Chinese, but also find out the corresponding parts of English vocabulary. Both of them must be clear and accurate, and the translated classics can fit the original intention of the text. Take the sentence "The King of Qin walks around the column" in Biography of Assassin as an example, we are faced with the problem of whether the countable noun "column" is singular or plural when translated into English, that is, we need to judge whether the King of Qin and Jing Ke walked around a big column or shuttled between different columns. This concentrated discussion is very enlightening to his later research and writing. Zhang Zongpin said that the value and significance of Ni Haoshi’s translation of Historical Records in academic research and cultural communication will surely become more and more important with the passage of time. The newly published Long River of History is a concentrated display of Ni Haoshi’s research on Historical Records, which is extremely rich in content. Thanks to Dr. Kuang Yantao’s hard compilation, we can understand different aspects of Ni Haoshi’s research on Historical Records. Zhang Zongpin said, "It is very correct to use’ Long River of History’ as the title of the book. As Mr. Ni Haoshi said, his works and translation have become a part of the traditional academic history. In this collection of essays,What we feel is the long history of the study of Historical Records in ancient and modern times, at home and abroad. This big river stretches for two thousand years, and it is magnificent. Scholars on both sides of the strait have contributed a trickle to this long river to varying degrees. Mr. Ni Haoshi and his works have their own particularity: they are not only in the river, but also often travel between the two sides. It is a ferryman, a ferry and a bridge across the two sides. "

Professor Sun Bao of Qufu Normal University is mainly engaged in the study of the interaction between Confucianism, bureaucracy and literature in the Han, Wei, Jin, Southern and Northern Dynasties. He studied at the University of Wisconsin from September 2017 to September 2018. During his visit to school, Sun Bao participated in the translation workshop of Historical Records, and was deeply shocked by the grandeur and delicacy of this epic project that lasted for more than 30 years. Ni Haoshi’s experience, methods and opinions in studying and analyzing the text of Historical Records are very beneficial to his study of the classics and historical materials of the Six Dynasties. Next, Sun Bao shared some discoveries he had accumulated in the process of reading the Historical Records and the Six Dynasties’ historical collections since his visit to school. Finally, Sun Bao said that during his translation workshop of Historical Records, he was deeply impressed by the academic realm of Ni Haoshi, who was easy and slow. Ni Haoshi always gives encouragement to the idea of Chinese-English translation of Historical Records put forward by everyone. "On the one hand, it requires to make sense, on the other hand, it emphasizes to give proof" and "Stay humble, Stay hungry" may be regarded as one of the essences of Ni Haoshi’s scholarship.

Lecturer Yu Jianping of Shanghai Normal University also visited the University of Wisconsin-Madison from September 2017 to September 2018 and participated in the English translation project of Historical Records. Yu Jianping said that although he had some knowledge of Ni Haoshi’s translation and research of Historical Records, only after reading this Long River of History did he have a more comprehensive understanding of this project that lasted for decades and devoted a lot of efforts to Ni Haoshi and other participants, and he also had a deeper understanding of Ni Haoshi’s research of Historical Records. Next, Yu Jianping talked about his feelings of reading this book from three aspects: First, Ni Haoshi’s investigation and research on the version of Historical Records. For the 1959 edition of Historical Records by Zhonghua Book Company, Ni Haoshi carefully inspected its writing process, especially investigated the relationship between Gu Jiegang, He Cijun, Song Yunbin and others, and pointed out the shortcomings of this edition, which did not refer to the patchwork edition and Renshou edition. It is this serious and responsible attitude that lays the foundation for the high quality of the English version of Historical Records. The second is meticulous translation attitude. Ni Haoshi’s translation attitude is rigorous and serious, even to the point of being meticulous. Some common function words have many meanings in different contexts, so Ni Haoshi tries his best to find the corresponding English words according to their semantics. Some grammatical elements are often omitted in ancient Chinese, and Ni Haoshi tries to complete them in English. In addition to translating the text of Historical Records as accurately as possible, Ni Haoshi also added a lot of relevant materials in the footnotes, so as to make readers fit in with Sima Qian’s target readers as much as possible. The third is the compilation of Historical Records. In the process of word-for-word translation,It is found that there are many "contextual incoherence" problems in Historical Records. Starting with these details, a window on how Sima Qian compiled Historical Records is opened. Yu Jianping said that these viewpoints in the book "are the ideological inspiration formed by accumulation, precipitation and generate in the process of translating Historical Records for decades, and are the natural result of Ni’s long-term persistence in translating and studying Historical Records".

Dr. Kuang Yantao, the compiler of Long River of History and the University of Munich, first reviewed the process of becoming attached to Ni Haoshi and being asked to learn from Mr. Ye Han by his recommender. Kuang Yantao said that during his study in Renmin University of China, Mr. Xu Construction Committee once recommended them to read the article "A Discussion on the Texts of Historical Records and Some Speculations on the Compilation of Family" by Ni Haoshi, and from this, he studied more articles about Historical Records by Ni Haoshi. Kuang Yantao said, "These articles are, on the one hand, Mr. Ni’s thoughts and experiences in the process of translation, and on the other hand, they are actually responses to the academic tradition of western sinology’s doubts about the text of Historical Records since the last century." It was in the process of studying these articles that he found that although Ni Haoshi’s research was so enlightening, there were few translations and quotations in China, so he had the idea of translating his articles into Chinese. First, he translated A Hundred Years of Western Studies on Historical Records and published it in Peking University’s International Sinology Research Newsletter. Later, with the support of Xu Construction Committee and Ma Xinmin, Peking University Press, and with the consent and authorization of Ni Haoshi, the compilation and translation of this collection began. Since 2021, with the support of Professor Ye Han, Kuang Yantao has joined the translation team of Historical Records of Ni Haoshi. Kuang Yantao said that the trust and friendship between Ni Haoshi and Ye Han came into play in Historical Records, a historical book two thousand years ago, and Historical Records was the starting point of all these stories.

Ma Xinmin, assistant editor-in-chief of Peking University Publishing House and director of the Department of Classics and Culture, made a speech as the co-organizer of the event and the representative of the publisher of Long River of History. Ma Xinmin said that one word he paid special attention to when reading this book was time. Sima Qian may have spent more than 20 years writing Historical Records. This classic document has been circulated for more than 2,000 years, and Ni Haoshi spent more than 30 years organizing translation. Because of Historical Records, Sima Qian more than two thousand years ago and Ni Haoshi today, their work is connected in the long river of history. With the passage of time, the English translation of Historical Records hosted by Ni Haoshi will surely show its greatness. Ma Xinmin has participated in and presided over a number of large-scale ancient books publishing projects, including The Whole Song Dynasty, Annotations on Thirteen Classics, and Confucian Collection (essence edition). He pointed out that large-scale projects may not be completed in the end without careful design in advance. From the publisher’s point of view, he expressed his admiration for Professor Ni Haoshi and Professor Wei Bote’s special attention to the consistency and consistency of translations when organizing translations.

The last part of the activity was a keynote speech by the keynote speaker Professor Ni Haoshi. Huang Hongyu said that many people have asked Ni Haoshi how to summarize the Historical Records in one sentence. He thought about some statements, such as "China’s early national narrative" and "a mixed writing of the Old Testament Bible and Herodotus’s History", but he still appreciated Wang Chong’s assertion in the Eastern Han Dynasty the most, that is, Sima Qian and Yang Xiong were like rivers and Han Dynasty, and the rest of the Han Dynasty writers were just rivers like Jingshui and Weishui. This is also the origin of the title "Long River of History".

Ni Haoshi’s speech was elegant and humorous. First of all, he thanked Dr. Kuang Yantao, the compiler of Long River of History, and praised him for his efforts in compiling this book and doing it so well. He quipped that at first he thought it would take about 10 years to complete the work, and it would be written in seven volumes, but he forgot that this was an ideal and perfect situation. Ni Haoshi mentioned Professor Lv Zongli, one of the original translators, and praised him as a great person with profound knowledge. When talking about the materials they used, Ni Haoshi specifically mentioned the contribution made by Wang Ji, a teacher from Suzhou University. Then Ni Haoshi talked about the old and new editions of Historical Records by Zhonghua Book Company from the perspective of academic history. For various reasons, the 1959 edition of Historical Records was completed in a hurry, especially the edition collation, which was mainly due to the limitations of the times. Judging from the differences between Gu Jiegang’s Records of the Historian (the Department of Bai Wen) in the 1930s and the 1959 edition, he doubted whether Gu Jiegang had finished the proofreading of the latter. As for the newly revised version of Historical Records, Ni Haoshi said that they have started to use this version recently. At first, he was a little rejected by this new version. What bothered him most was the change of page numbers, because the Index of Historical Records and their previous translations were all related to page numbers, and the revised version added some collations, including the patchwork version, which brought them more problems. But with more and more use, he found that the revised edition is really a good collation.

Nihaoshi

Ni Haoshi reviewed some past events between him and Professor Yip Han. He said that it was when Professor Yip Han changed his mind and accepted his cooperation proposal that he really felt that the English translation project team of Historical Records was a successful team. Ni Haoshi also talked about his teacher, Professor Bi Shaofu, who shared with Ye Han. He learned from Professor Bi to explore the deeper implication of the text. After briefly reviewing his study history and the starting process of the English translation project, Ni Haoshi talked about the process of determining the style and form of this translation work. Ni Haoshi said that among all the existing translations, burton watson is undoubtedly unique in this respect, but he is not a scholar of literature. Wordsworth’s translation is suitable for the general readers, and what they have to do is to provide a translation that meets the needs of the research group. After determining the translation principles, they tried to distinguish many expressions with similar semantics but different meanings in ancient Chinese, such as "attack" translated as "to attack", "to give battle to", "to lead a punitive expedition against" and "to attack". They summarized and classified this and still use it today.

Huang Hongyu concluded that the English translation of Historical Records led by Ni Haoshi successfully practiced the PI system in the field of large-scale Chinese translation. All members of the team have gained growth in this collaboration process, and continue to be inspired by Ni Haoshi’s profound knowledge, vigorous energy, keen curiosity and charisma.

Finally, Ni Haoshi interacted with the students at the scene and enthusiastically answered your questions. He Haiyan from Hubei University, Liu Cheng from Guangxi Normal University, Hong Yinghua from Xiamen University, Wu Guimei from Yangtze University, Pan Li and Wang Ji from Suzhou University, Deng Lin from Beijing Foreign Studies University and some students from China Renmin University and Suzhou University also participated in the activity.

The Peking Opera "Mother" performed by Wuhan Peking Opera Theatre created an extraordinary mother-Ge Jianhao. Her son Cai Hesen and daughter-in-law Xiang Jingyu were both famous early leaders of the Communist Party of China (CPC), and her daughter Cai Chang was one of the earliest party member in the Communist Party of China (CPC), a pioneer and outstanding leader of China women’s movement. As a pioneer and revolutionary of women’s education in China, Ge Jianhao is admired by people for her persevering and inspiring personal struggle and ups and downs of revolutionary experience.

The Peking Opera Mother tells the story of the heroic mother Ge Jianhao and her revolutionary battles with her children and daughter-in-law with a dramatic and modern stage paradigm, bringing the audience into that magnificent red revolutionary era.

The story was refreshing from the beginning. The author firmly grasped the legendary experience of the heroic mother Ge Jianhao and made a fuss: in the late Qing Dynasty and the early Republic of China, the social situation was turbulent, and the old and new ideological trends collided fiercely. Ge Jianhao broke through the shackles of the feudal society for thousands of years and boldly safeguarded the dignity of marriage-divorced his concubine. The screenwriter put such a plot at the beginning of the whole play and took the lead. In fact, there are many women who dare to fight in love and marriage in operas, such as forcing Zhu Maichen to divorce her Cui Shi in "Broken Mountain" and coaxing Zhou She to write a divorce certificate in "Saving the Wind" to save her sister Zhao Paner. But no matter how fierce their struggle is, they still can’t get out of the feudal ideological framework that men are superior to women. And Ge Jianhao’s way of treating marriage has more modern female subjective consciousness. At first, she took her children thousands of miles to Shanghai to find her husband, Cai Rongfeng, and just entered the door, she met Cai’s concubine, Yan Hong. Ge Jianhao resolutely resisted, based on Qiu Jin’s "women’s self-reliance" theory, put forward "Hugh’s theory", simply solved the problem neatly, led the children home, and ended the marriage.

In the following story, Ge Jianhao enrolled with his children and grandchildren at the age of 50; Change Grameen’s name to Ge Jianhao in public; Put your feet for your young daughter Cai Chang; Stop Cai Rongfeng from selling women as concubines; Selling ancestral gold rings supports children to study abroad and return to China to serve the motherland … Many details show Ge Jianhao’s courage and perseverance.

"Studying Abroad" is a turning point of the whole drama from comedy to serious sadness, and the theme of the play has also changed from the history of women’s personal inspirational growth to the shaping of heroic mothers who adhere to revolutionary beliefs and bid farewell to martyrs’ children and daughters-in-law. At this point, the plot moves from clear and lively externalization of contradictions and conflicts to deeper dissection and rendering of the characters’ inner feelings, and the story progresses gradually, and the expression form moves from pure realism to the combination of freehand brushwork and realism. The addition of large lyric aria creates space for the second creation of Beijing opera singing.

Ge Jianhao’s actor Liu Ziwei is the pillar of Wuhan Peking Opera Theatre. In the aspect of composing modern operas, she led the team to work hard for many years and explored a road of innovation of "Han School" Peking Opera which is different from Beijing School and Shanghai School. In the view of art, she pursues the concept of "great drama", highlighting drama and mixing various cross-border art forms. In performance, she learned from others’ strong points, changed from one teacher to another, played down the genre consciousness subjectively, broke down the barriers of operas, and avoided the homogenization and facelift of roles. She is a rare artistic practitioner. Liu Ziwei is good at career spanning. In the past, his roles were more inclined to Hua Dan, Tsing Yi, Hua Shan and other young and middle-aged people. In Mother, Ge Jianhao was over 40 when she appeared, so Lao Dan’s scenes were obviously aggravated. In most plays, everyone called her "the old lady". This adds an important puzzle to Liu Ziwei’s role gallery. She is ingenious and uses Hua Dan’s skills to interpret the characters: in the scene of Kao Xue, she changed her name in public and claimed that she was a "newborn" young man. Since then, in the performance of the couplet question and answer, she completely recited and performed in the tone of Little Hua Dan, and interpreted the hidden girlish feeling in the characters’ hearts. This dislocation is very creative.

Huang Dingshan, the invited director of Wuhan Peking Opera Theatre, directed the play. He is a versatile director who is good at crossing borders. He has previously directed many types of plays, such as drama, opera, musical, opera, film and television drama. This integration of multi-artistic categories coincides with Liu Ziwei’s view that team drama is higher than "drama". In the play, the use of parallel montage, fade-in and fade-out transitions, high-light close-ups and intricate narratives, the jumping-in and jumping-out of the chorus and modern dance troupe, and the ease between the two roles of group performance and commentary are all distinctive features and highlights.

In "Biezi", the director used the change of light and shadow to perform a thrilling miniature pantomime. Ge Jianhao kept watch for the underground party comrades at the meeting in Shanghai alley. When she found that the spy was approaching and informed the people in the house to move in time, she and the spy were alert to shuttle back and forth between bamboo hangers drying clothes and quilts. At this time, the main lights on the stage were all extinguished, and only the chasing light that was a diversion led the audience’s line of sight. Another typical scene is the arrest of daughter-in-law Xiang Jingyu. The director used the rapid switching of light and shadow in different positions on the stage to enter Beijing Opera in film and television language, with group dance and increasingly tense atmosphere music. In just a few minutes, it condensed a series of actions such as Xiang Jingyu’s meeting with comrades working underground, holding a meeting, being betrayed by traitors, being surrounded by spies in the crowd, being imprisoned, being killed, etc., which was as thrilling as a spy war movie.

Singing teams and group dancing scenes are widely used in the play. There are Beijing dialect chorus, bel canto chorus and Hunan dialect folk song chorus; There are also the integration of traditional Peking Opera tunes and symphony melodies, and the interweaving of Peking Opera martial arts routines, copying scenes and modern dance performances, which have built a three-dimensional and sensible overall structure for realizing various functions such as rapid transition, setting off the artistic atmosphere of specific scenes, and making comments in time during the story process, greatly enriching the stage expression of Peking Opera.

In addition, in the background of the stage, the old photos of the prototype characters in the play are superimposed, and the projection and restoration of specific historical scenes are combined with the physical landscape to create a nostalgic feeling like a film movie. With the stylized performance of Peking Opera in the open field in the foreground, the whole stage is turned into a big picture frame, bearing the moving images of the revolutionaries who are dusted by history but will not be forgotten, with a long aftertaste.

Generally speaking, the Peking Opera Mother continues the production concept of Liu Ziwei’s team in Wuhan Peking Opera Theatre, and puts Ge Jianhao’s legendary experience of half a life of twists and turns on the stage with the individualized artistic practice of "Han School" Peking Opera, adding a lot of color to the image of revolutionary mother on the Peking Opera stage.

(Author: Luo Song, editor-in-chief and editor-in-chief of China Drama magazine)