Chinese Letters and Meanings
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A Contrastive Study of Connotation of The
1 2 MINISTRY OF EDUCATION AND TRAINING UNIVERSITY OF DANANG The thesis has been completed at the College of Foreign Languages, University of Danang. NGUY ỄN QU ỐC TOÀN Supervisor: Assoc. Prof. Dr. Phan V ăn Hòa A CONTRASTIVE STUDY OF Examiner1:Tr ầnQuangHải,Ph.D. CONNOTATION OF THE VIETNAMESE Examiner 2: Tr ươ ng B ạch Lê, Ph. D. ZODIAC ANIMALS IN ENGLISH AND VIETNAMESE IDIOMS AND PROVERBS Field : THE ENGLISH LANGUAGE The thesis was defended at the Examining Committee. th Code : 60.22.15 Time : January 7 , 2012 Venue : University of Danang M.A. THESIS IN THE ENGLISH LANGUAGE (A SUMMARY) The origin of the thesis is accessible for the purpose of reference at: - The College of Foreign Languages Library, University of Danang - Information Resources Centre, University of Da Nang Danang 2011 3 4 CHAPTER 1 find out the connotations of VZAs and their similarities and INTRODUCTION differences in the two languages. 1.1 RATIONALE 1.2.2 Objectives of the Study Many researchers have conducted studies on animal words in This paper is designed to aim at the following objectives: - To English Vietnamese idioms or proverbs. They tried to analyse, describe the connotation of VZAs in English and Vietnamese idioms compare and contrast all animal words between the two languages and proverbs; - To compare and contrast the connotation of VZAs in through idioms or proverbs. However, to some extent, they fail to English and Vietnamese idioms and proverbs to clarify the achieve their aims comprehensively. This is due to the discrepancy similarities and differences between the two languages; - To suggest and disparity of animal words in the two languages and that there is some implications for successfully translating, teaching and learning not a clear-cut bound between idioms and proverbs, especially those English and Vietnamese in Vietnamese. -
Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -