Reconceptualizing Translation – Some Chinese Endeavours Martha P.Y
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European Proceedings of Social and Behavioural Sciences EpSBS www.europeanproceedings.com e-ISSN: 2357-1330 DOI: 10.15405/epsbs.2020.11.03.23 DCCD 2020 Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding INFORMATION TECHNOLOGY IN TEACHING CHINESE: ANALYSIS AND CLASSIFICATION OF DIGITAL EDUCATIONAL RESOURCES Tatiana L. Guruleva (a)* *Corresponding author (a) Moscow City University, 5B Malyj Kazennyj pereulok, Moscow, Russia; Institute of Far Eastern Studies of Russian Academy of Sciences, 32 Nakhimovskii prospect, 117997, Moscow, Russia, [email protected] Abstract The intercultural approach to teaching Chinese as a foreign language in Russia was first implemented by us in a model for co-learning languages and cultures. This model was developed in 2009-2011, it took into account the specifics of teaching the Chinese language, which is studied simultaneously with the English language. The model was tested in the international multicultural educational region of Siberia and the Far East of Russia and northeastern part of China. However, the intercultural approach has wide potential for implementation not only in conditions of direct contact with representatives of another culture. In the modern world, information technologies for teaching foreign languages are increasingly in demand. For a number of objective reasons, large technology companies until the beginning of the 21st century could not begin to develop information technologies that support the Chinese language. Therefore, the history of the creation and use of information technologies for teaching the Chinese language is happening right now before our eyes. In this regard, the analysis and classification of information resources for teaching the Chinese language is relevant and in demand. -
Orthography of Early Chinese Writing: Evidence from Newly Excavated Manuscripts
IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS BUDAPEST MONOGRAPHS IN EAST ASIAN STUDIES SERIES EDITOR: IMRE HAMAR IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS DEPARTMENT OF EAST ASIAN STUDIES, EÖTVÖS LORÁND UNIVERSITY BUDAPEST 2006 The present volume was published with the support of the Chiang Ching-kuo Foundation. © Imre Galambos, 2006 ISBN 963 463 811 2 ISSN 1787-7482 Responsible for the edition: Imre Hamar Megjelent a Balassi Kiadó gondozásában (???) A nyomdai munkálatokat (???)a Dabas-Jegyzet Kft. végezte Felelős vezető Marosi Györgyné ügyvezető igazgató CONTENTS Acknowledgements ................................................................................................. vii Introduction ............................................................................................................ 1 CHAPTER ONE FORMER UNDERSTANDINGS ..................................................................................... 11 1.1 Traditional views ........................................................................................... 12 1.1.1 Ganlu Zishu ........................................................................................ 13 1.1.2 Hanjian .............................................................................................. 15 1.2 Modern views ................................................................................................ 20 1.2.1 Noel Barnard ..................................................................................... -
ISO/IEC JTC1/SC2/WG2 N3196R2 1. Summary
ISO/IEC JTC1/SC2/WG2 N3196R2 Page 1 of 10 ISO/IEC JTC1/SC2/WG2 N3196R2 Title Proposal to Disunify U+4039 Source Andrew West and John Jenkins Document Type Expert Contribution Date 2007-05-01 1. Summary 䀹 目 夾 The character U+4039 is a unification of two different glyphs, one written as (i.e. mù radical and ji 䀹 目 㚒 phonetic) and one written as (i.e. mù radical and sh n phonetic). It is the former of these two glyph forms that is used to represent this character in the Unicode code charts and in most CJK fonts. The glyph form of U+4039 in various sources are shown below : ISO/IEC 10646:2003 page 307 Super CJK Version 14.0 page 1049 The Unicode Standard 5.0 code charts page 301 JIS X 0213:2000 Plane 2 Row 82 Col.2 (J4-7222) ISO/IEC JTC1/SC2/WG2 N3196R2 Page 2 of 10 Ѝ There is also a simplified form of the ji phonetic glyp䀹h (U+25174 ), aᴔs well as two compatability ideographs that are canonically equivalent to U+4039 : U+FAD4 and U+2F949 . The situation is summarised in the table below : Source References Code Point Character (from ISO/IEC 10646:2003 Amd.1) G3-5952 T4-3946 4039 䀹 J4-7222 H-98E6 KP1-5E34 FAD4 䀹 KP1-5E2B 25174 Ѝ G_HZ 2F949 ᴔ T6-4B7A 䀹 䀹 We believe that the two glyph forms of U+4039 ( and ) are non-cognate, and so, according to the rules for CJK unification (see ISO/IEC 10646:2003 Annex S, S.1.1), should not have been unified. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Downloaded from Brill.Com10/04/2021 08:34:09AM Via Free Access Bruce Rusk: Old Scripts, New Actors 69
EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700* Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay. -
Han, Wei, Six Dynasties Syllabus
Topics in Classical Chinese Poetry and Poetics (16:217:527) Han, Wei and Six Dynasties Course Guidelines and Syllabus Spring 2020 Instructor: Professor Wendy Swartz [email protected] Scott Hall 323 Office Hour: T 11:00-12:00, and by appointment Course Description: This course introduces the major poetic genres and works of the Han, Wei and Six Dynasties, the formative period for classical poetry. It will focus primarily on the art of reading poetry, with attention to relevant historical, biographical and literary-historical contexts. Emphasis will thus be placed on 1) learning the conventions of particular genres and subgenres, 2) assessing the qualities of individual poets and poems through an examination of their manipulation of these conventions, and a comparison with other voices in the tradition, and 3) recognizing the larger stylistic shifts and literary concerns that developed over the course of early medieval China. Readings from a selection of modern criticism will be helpful for understanding individual poets, issues and themes. Primary texts and commentaries are in Chinese, therefore proficiency in reading both modern and classical Chinese is required. Requirements and Grading: 1. Participation (10%): Participation in the translation and analysis of poems in class is mandatory. Students will need to come to class having read and translated all of the assigned poems and critical literature. 2. Class presentation (20%): Each week a student will be delegated to present on the weekly secondary readings (highlighted in bold). These brief presentations should summarize and analyze the main arguments of the readings and pose questions about them. All other students will read in advance the selected material and be ready to pose questions about the reading. -
Digital Editions of Premodern Chinese Texts: Methods and Problems – Exemplified Using the Daozang Jiyao1道藏輯要
Chung-Hwa Buddhist Journal (2012, 25:167-194) Taipei: Chung-Hwa Institute of Buddhist Studies 中華佛學學報第二十五期 頁 167-194 (民國一百零一年),臺北:中華佛學研究所 ISSN:1017-7132 Digital Editions of Premodern Chinese Texts: Methods and Problems – Exemplified Using the Daozang Jiyao1道藏輯要 Christian Wittern Kyoto University Abstract Digital editions do have a great potential for new avenues of research, but they also pose vexing research questions that have to be resolved adequately in order to make the resulting edition useful in the long run. One of the many differences between printed editions of texts and digital editions is the open-endedness of the latter, which means that it can be done incrementally and updated without incurring substantial expenses. The medium of digital editions requires the creator to make many assumptions about the texts explicit and record them in a way that can be processed automatically. This is a new concept, which seems foreign to the agenda of a scholar whose ultimate aim is to engage with the text. This article demonstrates that what seems like a detour is actually advancing the understanding of the text and the need objectify a text in this gives access to new dimensions of a text. It then goes on to provide details of a conceptual model for describing a premodern text digitally that has been developed working on a digital edition of the early Qing Daoist collection Daozang jiyao. Keywords: Text Encoding, Digital Editions, Character Encoding, XML, Doaist Studies 1 I would like to thank the anonymous reviewers for this journal for their very helpful suggestions for clarifications and general improvement of the article. -
Assessing the Validity of Hainan's 400- Year Gazetteer Record for Establishing Historical Baselines
Assessing the validity of Hainan’s 400- year gazetteer record for establishing historical baselines Connor Walsh August 2016 A thesis submitted for the partial fulfilment of the requirements for the degree of Master of Science at Imperial College London Submitted for the MSc in Conservation Science 2 Declaration of Own Work I declare that this thesis: Assessing the validity of Hainan’s 400-year gazetteer record for establishing historical baselines is entirely my own work, and that where material could be construed as the work of others, it is fully cited and referenced, and/or with appropriate acknowledgement given. Signed. Name of student: Connor Walsh Name of Supervisors: Dr Samuel Turvey; Clare Duncan 3 Table of Contents Declaration of Own Work ..................................................................................................... 2 List of acronyms .................................................................................................................... 4 Acknowledgements ............................................................................................................... 4 Introduction ........................................................................................................................... 6 Methods ................................................................................................................................. 8 Results ................................................................................................................................. 12 Discussion -
Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 *
EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 * Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse 1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay. -
The Family of Chinese Character-Type Scripts (Twenty Members and Four Stages of Development)
SINO-PLATONIC PAPERS Number 28 September, 1991 The Family of Chinese Character-Type Scripts (Twenty Members and Four Stages of Development) by ZHOU Youguang Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. -
An Inquiry Into the History of the Chinese Terms Jiqi (Machine) and Jixie (Machinery)
ZHANG BAICHUN AN INQUIRY INTO THE HISTORY OF THE CHINESE TERMS JIQI (MACHINE) AND JIXIE (MACHINERY) Within the context of modern mechanical engineering, the Chinese technical terms jiqi (‘machine’, ‘machinery’, ‘apparatus’), and jixie (‘machinery’, ‘mechanism’, ‘mechanical’), have long been given specialist definitions. In ancient China, however, the two terms were rarely used. Drawing on a selection of relevant texts and docu- ments this essay will trace their occurrences and changes of meaning. 1. JI , QI , AND XIE 1. Ji Ji has many meanings in ancient Chinese. In the early period, one of its basic meanings referred to the trigger mechanism on a crossbow, i.e., something with a controlling function. The Eastern Han glossary Shiming ʑ (Explanations of names, ca. 200 AD) mentions the term in the chapter “Shibing” (Explanations concerning the military): “Nu , the crossbow, is [pronounced like] nu , anger. … [it] is also used to refer to the skill of setting something in motion (ji zhi qiao ) or the guardian mechanism (shuji ) of doors and windows by means of which opening and closing are controlled.”1 In the Shuo- wen jiezi ʠ (Describing the pictograms and explaining the compound characters), published around the same time, we read: “Ji: what controls the beginning is called ji. It is written with [the radical] mu ‘wood’; and it is pronounced like ji .” 2 In the late Ming, Wang Zheng described and explained the crossbow and its ‘controlling mechanism’ (ji) in detail in his Xinzhi zhuqi tushuo ̅ (Illustrated explanations on new machines of all kinds) (cf. Figure 1).3 1 Liu Xi . -
CANTONESE LOVE SONGS (YUE OU粵謳) PREFACE TWO1 Translated with an Introduction by LITONG CHEN and NICHOLAS JOCH
Asian Literature and Translation Vol. 3, No. 2 (2015) 1-15 CANTONESE LOVE SONGS (YUE OU粵謳) PREFACE TWO1 Translated with an Introduction by LITONG CHEN and NICHOLAS JOCH Introduction The term “Yue ou” 粵謳 (alternatively Yueh eo) has at least three different yet mutually-related meanings. First, the term refers to a traditional form of folk songs sung in the Pearl River Delta region, Guangdong, for hundreds of years. The authors of the songs are usually unknown; a single song may have several variations, in terms of both the tune and the lyrics. Additionally, Yue ou can indicate a genre of songs, the lyrics of which were composed by Cantonese poets (most of whom were also experts in music) in the 19th century. The tunes were edited on the basis of traditional folk songs. In the current project, Yue ou takes a third meaning, i.e., the name of a particular songbook, composed of 97 folk songs. The songbook was written by Zhao Ziyong 招子庸 (alternatively Chao Tzu-yung, Jiu Ji-yung), one of the few folk song writers whose name and identity are known (together with Feng Xun 馮詢 and Qiu Mengqi 邱夢旗, as Xian (1947) mentions). Zhao was born in 1795 (the 60th year of Emperor Qianlong’s乾隆 reign) in Nanhai 南 海, Guangdong, and died in 1846 (the 26th year of Emperor Daoguang’s道光 reign). His courtesy name was Mingshan 銘山, his literary name being Layman Mingshan 明珊居士. The songbook Yue ou is probably the second earliest extant colloquial Cantonese document.2 The collection is important not only as a reflection of everyday life in 19th-century Guangdong, but also as a profoundly authentic snapshot of spoken Cantonese, which is usually written with a mixture of standard Chinese characters and a number of additional characters created specifically for Cantonese.