英语翻译The Structure of Chinese Funerary.Rites:Elementary Forms

英语翻译
The Structure of Chinese Funerary.
Rites:Elementary Forms,Ritual Sequence,and the Primacy of Performance.
James L.Watson
In one important respect this collection of essays is the sequel to an earlier volume entitled Popular Culture in Late Imperial China.The popular-culture conference （held in 1980） considered the general theme of Chinese cultural diversity and uniformity,looking specifically at the question What held Chinese society together?There were,of course,many institutions and social processes that led to the creation of a unified,centrally organized culture in late imperial China.One of the most obvious was control over the written word as expressed in literature and religious texts; equally important was the subtle manipulation of oral performing arts,notably opera and public storytelling.The authors of Popular Culture approached the problem of diversity within unity from many angles,but conference discussions made it clear that one important dimension was missing,namely,ritual.
If anything is central to the creation and maintenance of a unified Chinese culture,it is the standardization of ritual.To be Chinese is to understand,and accept the view,that there is a correct way to perform rites associated with the life-cycle,the most important being weddings and funerals.By following accepted ritual routines ordinary citizens participated in the process of cultural unification.In most cases they did so voluntarily,without the necessity of enforcement by state authorities.What we accept today as “Chinese” is in large part the product of a centuries-long process of ritual standardization.
This volume,therefore,is more than a set of essays about death and mortuary ritual:It is a study in cultural homogenization as expressed in performance,practice,and beliefs regarding the dead.The essays that follow demonstrate that there was a uniform structure of funerary rites in late imperial China.The elements of this structure are outlined below.It is my contention that the proper performance of the accepted sequence,was of paramount importance in determining who was and who was not deemed to be fully “Chinese.” Performance,in other words,took precedence over belief-it mattered little what one believed about death or the afterlife as long as the rites were performed properly.The polemical tone of this essay is deliberate.It is hoped that others will take up the cause of belief,thereby leading to an exchange of views regarding the role of ritual in Chinese society.
RITUAL:THE TRANSFORMATIVE ASPECT
THE STRUCTURE OF CHINESE FUNERARY RITES
英翻中才对 打错了

还好我两头翻译都行,
因为有时候翻译出来比较拗口,所以我有些地方用逗号隔开了
中国殡葬的构成
礼：基本形式,礼序,首位的功能
詹姆斯华生
这一系列的文献在一个很重要的早期的文件集,名为大众文化在中国帝制晚期的续集中得到了尊重.大众文化会议（ 1980年举行）认为,中国文化总的主题是多样性和统一性的,在会议中,人们也寻找着究竟是什么东西把中国社会紧紧的绑在一起这一问题的答案.当然这里已经存在着一个答案了,许多机构和社会发展的进程,直接导致了一个统一的,集中的,有条理的文化在中国帝制晚期形成.其中一个最明显的是在文字上的操控水平,就像是出现在文学和宗教经文上的文字一样富于表达力;同样重要的是在于口头的表演艺术上微妙的操纵处理力（疑似口技?当然我这么翻译是尊重原文,但是我个人认为口技应该就行了.-_-!真拗口）,尤其是歌剧（戏剧?）和公共故事（说书?）.大众文化的作者试图从许多角度走近大众文化的多样性和统一性的问题,但会议的讨论表明,有一个重要的因素一直被忽略了,即礼/仪式.(两个都行,我全给你加上了)
如果说,这里有什么是建立和维持一个统一的中国文化的核心,那么它就是标准化的礼/仪式.作为一个中国人可以理解并接受的观点,用正确的方式履行生命周期的相关礼/仪式,其中最重要的是婚礼和葬礼.遵照公认的礼仪行事的人们,参与到了这个文化的统一的进程.在大多数情况下,他们是如此的自觉,根本不需要国家执法机关的强制执行.当今我们所说的“中国人”在很大程度上是这个耗时一个世纪的漫长过程的标准化礼/仪式的产物.
因此这个文件集本身不再仅仅是一篇对死亡和停尸仪式的论文：而是一个学习的文化趋同,如同演出,实践中所表达的对于死亡的信仰.这篇论文的后继示范中,提及在中国帝制晚期这里曾经有一个统一的丧葬习俗结构.其内容结构概述如下.我的论点是,遵照公认的顺序并且适当的礼仪表现（我觉得翻译成举止得体更好,但是.尊重原著尊重原著,哈哈）对于决定谁是,或者谁不被视为完整的“中国人”具有极为重要的意义.换句话说,这种思想凌驾于信仰之上,就连轻视周围一切,但重视死亡或者来生的人（强烈怀疑这哥们说的是道士）都无法违背合适的仪式.本文争论的基调是经过深思熟虑的.目的是希望,其他人将明白信仰形成的原因.从而引导出一个关于仪式在中国社会中扮演的角色的交换意见.