電大基礎(chǔ)會計(jì)名詞解釋重點(diǎn)資料

1、一、解釋名詞術(shù)語：會計(jì)是經(jīng)濟(jì)管理的重要組成部分，是以貨幣為主要計(jì)量尺度，對經(jīng)濟(jì)活動進(jìn)行連續(xù)、系統(tǒng)和綜合的核算，提供以財(cái)務(wù)信息為主的經(jīng)濟(jì)信息，既為外部有關(guān)各方的投資、信貸決策服務(wù)，也為內(nèi)部強(qiáng)化管理和提高經(jīng)濟(jì)效益服務(wù)，是一個生成和提供財(cái)務(wù)信息并用于管理的系統(tǒng)。會計(jì)對象是指社會再生產(chǎn)過程中能夠用貨幣計(jì)量的經(jīng)濟(jì)活動，或者說是社會再生產(chǎn)過程中的資金運(yùn)動。 會計(jì)記錄是指各項(xiàng)經(jīng)濟(jì)業(yè)務(wù)經(jīng)過確認(rèn)、計(jì)量后，采用一定方法在賬戶中加以記錄的過程，包括以原始憑證為依據(jù)編制記賬憑證，再以記賬憑證為依據(jù)登記賬簿。 會計(jì)職能是指會計(jì)在經(jīng)濟(jì)管理中所具有的功能。5. 會計(jì)核算是以貨幣為主要計(jì)量單位，對企業(yè)、事業(yè)等單位一定時期的經(jīng)

2、濟(jì)活動進(jìn)行連續(xù)、系統(tǒng)、全面地記錄、計(jì)算和定期編制并提供財(cái)務(wù)會計(jì)報(bào)告等會計(jì)活動的過程。6、會計(jì)的監(jiān)督職能是指會計(jì)在其核算過程中對經(jīng)濟(jì)活動的合法性和合理性所實(shí)施的檢查監(jiān)督。7、會計(jì)的反映職能是指會計(jì)通過核算工作，提供會計(jì)數(shù)據(jù)，真實(shí)反映企業(yè)的經(jīng)營活動和成果，反映行政和帶來單位預(yù)算資金的收支和結(jié)余情況。 8會計(jì)方法是指履行會計(jì)職能所采用的方法。包括會計(jì)核算方法、會計(jì)監(jiān)督的方法和會計(jì)分析的方法。 9、會計(jì)報(bào)告又稱財(cái)務(wù)會計(jì)報(bào)告，是指以賬簿記錄為依據(jù)，采用表格和文字形式，將會計(jì)數(shù)據(jù)提供給信息使用者的書面報(bào)告。 10、會計(jì)計(jì)量指在會計(jì)核算過程中，對各項(xiàng)交易、事項(xiàng)都須以某種尺度為標(biāo)準(zhǔn)確定它的量。 11、會計(jì)確認(rèn)

3、就是依據(jù)一定的標(biāo)準(zhǔn)，確認(rèn)某以濟(jì)業(yè)務(wù)事項(xiàng)，應(yīng)記入會計(jì)賬簿，并列入會計(jì)報(bào)告的過程，包括要素項(xiàng)目確認(rèn)和時間確認(rèn)。 12、會計(jì)目標(biāo)是人們通過會計(jì)工作所預(yù)期達(dá)到的目的。13、會計(jì)要素就是對會計(jì)內(nèi)容的基本分類，即將會計(jì)內(nèi)容分解而成若干個要素。14、資產(chǎn)：是指過去的交易、事項(xiàng)形成并由企業(yè)擁有或控制的資源，該資源預(yù)期會給企業(yè)帶來經(jīng)濟(jì)利益。15、流動資產(chǎn)：是指可以在一年內(nèi)或者在超過一年的一個營業(yè)周期內(nèi)變現(xiàn)或耗用的資產(chǎn)。16、長期資產(chǎn)：指不準(zhǔn)備隨時變現(xiàn)、持有時間在一年以上的股票、債券投資和超過一年的其他投資。17、固定資產(chǎn)指持有期限一年以上，單位價值在規(guī)定標(biāo)準(zhǔn)以上，在使用過程中保持其原有實(shí)物形態(tài)不變的資產(chǎn)。18、

4、無形資產(chǎn)指能夠長期使用，不具有實(shí)物形態(tài)，能給企業(yè)的生產(chǎn)經(jīng)營帶來超額利潤的資產(chǎn)。19、負(fù)債是指過去的交易、事項(xiàng)形成的現(xiàn)時義務(wù)，履行該義務(wù)會導(dǎo)致經(jīng)濟(jì)利益流出企業(yè)。20、流動負(fù)債指應(yīng)在一年內(nèi)或者在超過一年的一個營業(yè)周期內(nèi)償還的債務(wù)。21、長期負(fù)債指應(yīng)在一年以上，或者在超過一年的一個營業(yè)周期以上償還的債務(wù)。22、所有者權(quán)益是指所有者在企業(yè)資產(chǎn)中享有的經(jīng)濟(jì)利益，其金額為資產(chǎn)減去負(fù)債后的余額。23、收入企業(yè)由于銷售商品、提供勞務(wù)和讓渡資產(chǎn)使用權(quán)等日?；顒又兴纬傻慕?jīng)濟(jì)利益的總流入，包括主營業(yè)務(wù)心入和其他業(yè)務(wù)收入。24、費(fèi)用指為銷售商品、提供勞務(wù)等日?；顒铀l(fā)生的經(jīng)濟(jì)利益的流出。25、成本企業(yè)為生產(chǎn)產(chǎn)品、提

5、供勞務(wù)而發(fā)生的各種耗費(fèi)。26、利潤指企業(yè)在一定會計(jì)期間內(nèi)的經(jīng)營成果，是企業(yè)的收入扣除成本和費(fèi)用后的余額。27、會計(jì)等式指在付核算中反映各個會計(jì)要素?cái)?shù)量關(guān)系的等式，又稱會計(jì)方程式或會計(jì)平衡公式。28、賬戶在會計(jì)內(nèi)容劃分會計(jì)要素的基礎(chǔ)上，按會計(jì)要素的具體內(nèi)容進(jìn)一步分類，以分門別類地記錄和匯集經(jīng)濟(jì)業(yè)務(wù)數(shù)據(jù)的工具。29、會計(jì)科目是會計(jì)要素進(jìn)一步分類的項(xiàng)目，也是賬戶的名稱。30、復(fù)式記賬法對于每一筆經(jīng)濟(jì)業(yè)務(wù)所引起的會計(jì)要素及其項(xiàng)目的增減變動，都以相等的金額，在兩個或兩個以上的賬戶中相互聯(lián)系地進(jìn)行登記的記賬方法。31、借貸記賬法以“借”、“貸”二字作為記賬符號的一種記賬方法。32、簡單會計(jì)分錄只涉及兩個賬

6、戶的會計(jì)分錄。33、復(fù)合會計(jì)分錄涉及兩個以賬戶的會計(jì)分錄。34、賬戶的結(jié)構(gòu)指在賬戶中如何登記經(jīng)濟(jì)業(yè)務(wù)，即“借方”登記什么，“貸方”登記什么，期末是否有余額，余額在哪一方，表示什么內(nèi)容。35、盤存賬戶是用來反映和監(jiān)督各項(xiàng)財(cái)產(chǎn)物資和貨幣資金的增減變動及其實(shí)際結(jié)存數(shù)的賬戶。36、結(jié)算賬戶用來反映和監(jiān)督企業(yè)與其他單位37、集合分配賬戶用來歸集和分配生產(chǎn)經(jīng)營中某個階段所發(fā)生的應(yīng)由多個成本計(jì)算對象共同負(fù)擔(dān)的某種費(fèi)用的賬戶。38、跨期攤提賬戶用來反映和監(jiān)督應(yīng)由幾個會計(jì)期間共同負(fù)擔(dān)的費(fèi)用，并將這些費(fèi)用在各個會計(jì)期間進(jìn)行分?jǐn)偤皖A(yù)提的賬戶。39、調(diào)整賬戶用來調(diào)整被調(diào)整賬戶的賬面余額，以便計(jì)算被調(diào)整賬戶的實(shí)際余額的

7、賬戶。調(diào)整賬戶按照其調(diào)整方式的不同，可進(jìn)一步分為備抵賬戶、附加賬戶和備抵附加賬戶三類。40、會計(jì)憑證是記錄經(jīng)濟(jì)業(yè)務(wù)事項(xiàng)的發(fā)生和完成情況，明確經(jīng)濟(jì)責(zé)任，并作為記賬依據(jù)的書面證明。41、原始憑證是在經(jīng)濟(jì)業(yè)務(wù)發(fā)生時取得或填制的，用以記錄和證明經(jīng)濟(jì)業(yè)務(wù)的發(fā)生或完成情況，明確經(jīng)濟(jì)責(zé)任，并作為記賬原始依據(jù)的一種會計(jì)憑證。42、記賬憑證是對經(jīng)濟(jì)業(yè)務(wù)事項(xiàng)按其性質(zhì)加以歸類，確定會計(jì)分錄，并據(jù)以登記會計(jì)賬簿的憑證。43、會計(jì)賬簿是由具有一定格式、相互聯(lián)系的賬頁所組成，用來序時、分類地全面記錄一個企業(yè)、單位經(jīng)濟(jì)業(yè)務(wù)事項(xiàng)的會計(jì)簿籍。44、序時賬簿也稱日記賬，是按照經(jīng)濟(jì)業(yè)務(wù)發(fā)生的時間先后順序，逐日逐筆登記經(jīng)濟(jì)業(yè)務(wù)的賬簿

8、。45、分類賬簿對全部經(jīng)濟(jì)業(yè)務(wù)進(jìn)行分類登記的賬簿。46、總分類賬簿簡稱總賬，是根據(jù)總分類科目開設(shè)賬戶，用來登記全部經(jīng)濟(jì)業(yè)務(wù)，進(jìn)行總分類核算，提供總括核算資料的分類賬簿。47、明細(xì)分類賬：簡稱明細(xì)賬，是根據(jù)明細(xì)分類科目開設(shè)賬戶，用來登記某一類經(jīng)濟(jì)業(yè)務(wù)，進(jìn)行明細(xì)分類核算，提供明細(xì)核算資料的分類賬簿。48、備查賬簿是對某些在日記賬簿和分類賬簿中未能記載或記載不全的經(jīng)濟(jì)業(yè)務(wù)進(jìn)行補(bǔ)充登記的賬簿。49、結(jié)賬在將本期內(nèi)所發(fā)生的經(jīng)濟(jì)業(yè)務(wù)全部登記入賬的基礎(chǔ)上，于會計(jì)期末按照規(guī)定的方法結(jié)算賬目，包括結(jié)計(jì)出本期發(fā)生額和期末余額。50、財(cái)產(chǎn)清查是指通過對實(shí)物、現(xiàn)金的實(shí)地盤點(diǎn)和對銀行存款、債權(quán)債務(wù)的核對，確定各項(xiàng)財(cái)產(chǎn)物

9、資、貨幣資金、債權(quán)債務(wù)的實(shí)存數(shù)，以查明賬存數(shù)與實(shí)存數(shù)是否相符的一種專門方法。51、未過賬項(xiàng)是指單位與銀行雙方之間由于結(jié)算憑證傳遞的時間不同，而造成一方已經(jīng)入賬，而另一方尚未收到結(jié)算憑證從而尚未入賬的款項(xiàng)。52、實(shí)地盤存制又稱定期盤存制，是指平時根據(jù)會計(jì)憑證在有關(guān)賬簿中只登記存貨的增加數(shù)，不登記減少數(shù)，月末通過實(shí)地盤點(diǎn)，將盤點(diǎn)的實(shí)存數(shù)作為賬面結(jié)存數(shù)，然后倒擠推算出本期發(fā)出數(shù)的一種存貨核算方法。53、永續(xù)盤存制又稱賬面盤存制，是根據(jù)賬簿記錄，計(jì)算期末存貨賬面結(jié)存數(shù)量的一種存貨核算方法。54、資產(chǎn)負(fù)債表是反映企業(yè)在某一特定日期財(cái)務(wù)狀況的報(bào)表。55、利潤表反映在一定會計(jì)期間經(jīng)營成果的報(bào)表。56、現(xiàn)金流

10、量表反映企業(yè)一定會計(jì)期間現(xiàn)金和現(xiàn)金等價物流入和流出的報(bào)表。57、客觀性原則指會計(jì)核算應(yīng)當(dāng)以實(shí)際發(fā)生的交易或事項(xiàng)為依據(jù)，如實(shí)反映企業(yè)的財(cái)務(wù)狀況、經(jīng)營成果和現(xiàn)金流量。58、相關(guān)性原則指企業(yè)提供的會計(jì)信息能夠反映企業(yè)的財(cái)務(wù)狀況、經(jīng)營成果和現(xiàn)金流量，以滿足會計(jì)信息使用者的需要。59、一貫性原則指企業(yè)的會計(jì)核算方法前后各期應(yīng)當(dāng)保持一致，不得隨意變更。如有必要變更，應(yīng)當(dāng)將變更的內(nèi)容和理由，變更的累積影響數(shù)，以及累積影響數(shù)不能合理確定的理由等，在會計(jì)報(bào)表附注中予以說明。60、可比性原則指企業(yè)的會計(jì)核算應(yīng)當(dāng)按照規(guī)定的會計(jì)處理方法進(jìn)行，會計(jì)指標(biāo)應(yīng)當(dāng)口徑一致，相互可比。61、會計(jì)循環(huán)就是按一定的步驟反復(fù)運(yùn)行的會計(jì)

11、程序。62、會計(jì)核算的基本前提對會計(jì)核算的存在條件，如空間、時間、計(jì)量尺度等以及核算過程中的不確定因素提出假設(shè)，并以此為會計(jì)核算的前提和基礎(chǔ)。63、會計(jì)主體會計(jì)核算須以一個特定單位為其服務(wù)對象和服務(wù)范圍，這個特定單位就稱為會計(jì)主體，也叫做會計(jì)實(shí)體。64、持續(xù)經(jīng)營也稱繼續(xù)經(jīng)營，是企業(yè)在可以預(yù)見的將來既不會停業(yè)，也不會被兼并或破產(chǎn)，并以現(xiàn)有的經(jīng)營規(guī)模和經(jīng)營范圍（或擴(kuò)大的經(jīng)營規(guī)模和擴(kuò)大的經(jīng)營范圍）持續(xù)不斷地進(jìn)行經(jīng)營動作。65、會計(jì)分期是指將持續(xù)不斷的經(jīng)營活動期間劃分為若干會計(jì)期間。66、權(quán)責(zé)發(fā)生制原則亦稱之為應(yīng)收應(yīng)付制原則，是指在會計(jì)核算中，按照收入已經(jīng)實(shí)現(xiàn)，費(fèi)用已經(jīng)發(fā)生，并應(yīng)由本期負(fù)擔(dān)為標(biāo)準(zhǔn)來確認(rèn)

12、本期收入和本期費(fèi)用。67、配比原則是指企業(yè)應(yīng)將某一會計(jì)期間的收入和為取得這些收入而支出的費(fèi)用相互配比，并在該會計(jì)期間內(nèi)確認(rèn)。68、實(shí)際成本原則亦稱之為歷史成本原則，它是指企業(yè)對所發(fā)生的經(jīng)濟(jì)活動進(jìn)行計(jì)量時，都要以經(jīng)濟(jì)業(yè)務(wù)事項(xiàng)實(shí)際發(fā)生時的取得成本或?qū)嶋H成本作為登記入賬的依據(jù)。69、謹(jǐn)慎性原則亦稱之為穩(wěn)健性原則，是指企業(yè)在處理含有不確定因素的經(jīng)濟(jì)業(yè)務(wù)時，必須謹(jǐn)慎從事，即只確認(rèn)可以預(yù)見的損失和費(fèi)用。70、收付實(shí)現(xiàn)制亦稱實(shí)收實(shí)付制，是指在會計(jì)核算中，以實(shí)際收到或支付款項(xiàng)為確認(rèn)本期收入和本期費(fèi)用的標(biāo)準(zhǔn)。71、遞延賬項(xiàng)是指雖然已收入或已付出款項(xiàng)，但是尚無法確定為已經(jīng)實(shí)現(xiàn)的收入或已發(fā)生的費(fèi)用，包括預(yù)付費(fèi)用和預(yù)

13、收收入。72、固定資產(chǎn)減值是指由于技術(shù)陳舊、損壞、市價持續(xù)下跌、長期閑置或其他原因?qū)е缕淇墒栈亟痤~低于賬面價值的差額。73、備抵法是指在每一個會計(jì)期末估計(jì)可能性發(fā)生的壞賬損失，并記入當(dāng)期期間費(fèi)用，同時記入“壞賬準(zhǔn)備”賬戶，待實(shí)際發(fā)生壞賬時再予以沖銷的一種壞賬核算方法。74、虛賬戶是指損益類賬戶，即收入類和費(fèi)用類賬戶。該類賬戶的本期發(fā)生額在會計(jì)期末都應(yīng)轉(zhuǎn)至“本年利潤”賬戶，結(jié)轉(zhuǎn)后均無余額，因而又稱為“臨時賬戶”。75、實(shí)賬戶是指資產(chǎn)、負(fù)債及所有者權(quán)益類賬戶。該類賬戶在會計(jì)期末結(jié)賬后，通常都有余額。這就是說這些余額必須結(jié)轉(zhuǎn)下期，以便連續(xù)記錄。因此，又稱為“永久賬戶”。76、會計(jì)核算形式也稱會計(jì)核算

14、程序或賬務(wù)處理程序，是每時憑證和賬簿絨組織、記賬程序和方法相互結(jié)合的方式。它是記賬和產(chǎn)生會計(jì)信息的步驟和方法。77、記賬憑證核算形式是以直接根據(jù)各種記賬憑證登記總分類賬為特點(diǎn)的一種最基本的會計(jì)核算形式。78、科目匯總表核算形式又稱記賬憑證匯總表核算形式，是以定期將記賬憑證按會計(jì)科目匯總，然后再根據(jù)科目匯總表登記總分類賬為主要特點(diǎn)的一種會計(jì)核算形式。79、匯總記賬憑證核算形式是以先定期將一定期間內(nèi)所有的記賬憑證匯總編制成匯總記賬憑證，然后再根據(jù)匯總記賬憑證登記總分類賬為主要特點(diǎn)的一種會計(jì)核算形式。您好，為你提供優(yōu)秀的畢業(yè)論文參考資料，請您刪除以下內(nèi)容，O(_)O謝謝！A large group

15、of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, star

16、ted the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilomete

17、rs and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous regio

18、n. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are

19、74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun

20、 says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big

21、 party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions vill

22、ages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the

23、 region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story a

24、bout his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every y

25、ear, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a

26、25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various

27、kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to

28、 create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous re

29、presentative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the ye

30、ar before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock ma

31、rket and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms th

32、at valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of

33、China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked

34、out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sa

35、les volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set

36、a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were f

37、ed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ag

38、o, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version

39、, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many n

40、ative viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups

41、and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and

42、 recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed

43、 to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple nam

44、es and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotic

45、a. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it

46、 for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English tr

47、ailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of soc

48、iety and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the o

49、nly life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness o

50、f the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication from high society and also caused him a lot of legal trouble. The legal trouble came as a result of the fact that he was speaking out against the government. I like to reference such tex