Chinese Calligraphy: Standard Script for Beginners Free
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Neural Substrates of Hanja (Logogram) and Hangul (Phonogram) Character Readings by Functional Magnetic Resonance Imaging
ORIGINAL ARTICLE Neuroscience http://dx.doi.org/10.3346/jkms.2014.29.10.1416 • J Korean Med Sci 2014; 29: 1416-1424 Neural Substrates of Hanja (Logogram) and Hangul (Phonogram) Character Readings by Functional Magnetic Resonance Imaging Zang-Hee Cho,1 Nambeom Kim,1 The two basic scripts of the Korean writing system, Hanja (the logography of the traditional Sungbong Bae,2 Je-Geun Chi,1 Korean character) and Hangul (the more newer Korean alphabet), have been used together Chan-Woong Park,1 Seiji Ogawa,1,3 since the 14th century. While Hanja character has its own morphemic base, Hangul being and Young-Bo Kim1 purely phonemic without morphemic base. These two, therefore, have substantially different outcomes as a language as well as different neural responses. Based on these 1Neuroscience Research Institute, Gachon University, Incheon, Korea; 2Department of linguistic differences between Hanja and Hangul, we have launched two studies; first was Psychology, Yeungnam University, Kyongsan, Korea; to find differences in cortical activation when it is stimulated by Hanja and Hangul reading 3Kansei Fukushi Research Institute, Tohoku Fukushi to support the much discussed dual-route hypothesis of logographic and phonological University, Sendai, Japan routes in the brain by fMRI (Experiment 1). The second objective was to evaluate how Received: 14 February 2014 Hanja and Hangul affect comprehension, therefore, recognition memory, specifically the Accepted: 5 July 2014 effects of semantic transparency and morphemic clarity on memory consolidation and then related cortical activations, using functional magnetic resonance imaging (fMRI) Address for Correspondence: (Experiment 2). The first fMRI experiment indicated relatively large areas of the brain are Young-Bo Kim, MD Department of Neuroscience and Neurosurgery, Gachon activated by Hanja reading compared to Hangul reading. -
A Comparative Analysis of the Simplification of Chinese Characters in Japan and China
CONTRASTING APPROACHES TO CHINESE CHARACTER REFORM: A COMPARATIVE ANALYSIS OF THE SIMPLIFICATION OF CHINESE CHARACTERS IN JAPAN AND CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2012 By Kei Imafuku Thesis Committee: Alexander Vovin, Chairperson Robert Huey Dina Rudolph Yoshimi ACKNOWLEDGEMENTS I would like to express deep gratitude to Alexander Vovin, Robert Huey, and Dina R. Yoshimi for their Japanese and Chinese expertise and kind encouragement throughout the writing of this thesis. Their guidance, as well as the support of the Center for Japanese Studies, School of Pacific and Asian Studies, and the East-West Center, has been invaluable. i ABSTRACT Due to the complexity and number of Chinese characters used in Chinese and Japanese, some characters were the target of simplification reforms. However, Japanese and Chinese simplifications frequently differed, resulting in the existence of multiple forms of the same character being used in different places. This study investigates the differences between the Japanese and Chinese simplifications and the effects of the simplification techniques implemented by each side. The more conservative Japanese simplifications were achieved by instating simpler historical character variants while the more radical Chinese simplifications were achieved primarily through the use of whole cursive script forms and phonetic simplification techniques. These techniques, however, have been criticized for their detrimental effects on character recognition, semantic and phonetic clarity, and consistency – issues less present with the Japanese approach. By comparing the Japanese and Chinese simplification techniques, this study seeks to determine the characteristics of more effective, less controversial Chinese character simplifications. -
On the Pictorial Structure of Chinese Characters
National Bur'SaU 01 Jiwiuuiuu Library, N.W. Bldg Reference book not to be FEB 1 1965 taken from the library. ^ecltnlcai v|ete 254 ON THE PICTORIAL STRUCTURE OF CHINESE CHARACTERS B. KIRK RANKIN, III, WALTER A. SILLARS, AND ROBERT W. HSU U. S. DEPARTMENT OF COMMERCE NATIONAL BUREAU OF STANDARDS THE NATIONAL BUREAU OF STANDARDS The National Bureau of Standards is a principal focal point in the Federal Government for assuring maximum application of the physical and engineering sciences to the advancement of technology in industry and commerce. Its responsibilities include development and maintenance of the national stand- ards of measurement, and the provisions of means for making measurements consistent with those standards; determination of physical constants and properties of materials; development of methods for testing materials, mechanisms, and structures, and making such tests as may be necessary, particu- larly for government agencies; cooperation in the establishment of standard practices for incorpora- tion in codes and specifications; advisory service to government agencies on scientific and technical problems; invention and development of devices to serve special needs of the Government; assistance to industry, business, and consumers in the development and acceptance of commercial standards and simplified trade practice recommendations; administration of programs in cooperation with United States business groups and standards organizations for the development of international standards of practice; and maintenance of a clearinghouse for the collection and dissemination of scientific, tech- nical, and engineering information. The scope of the Bureau's activities is suggested in the following listing of its four Institutes and their organizational units. Institute for Basic Standards. -
The Chinese Script T � * 'L
Norman, Jerry, Chinese, Cambridge: Cambridge University Press, 1988. 1 3.1 Th e beginnings of Chinese writing 59 3 FISH HORSE ELEPHANT cow (yu) (m ii) (xiimg) (niu) " The Chinese script t � * 'l Figure 3.1. Pictographs in early Chinese writing 3.1 The beginnings of Chinese writing1 The Chinese script appears as a fully developed writing system in the late Shang .dynasty (fourteenth to eleventh centuries BC). From this period we have copious examples of the script inscribed or written on bones and tortoise shells, for the most part in the form of short divinatory texts. From the same period there also Figure 3.2. The graph fo r quiin'dog' exist a number of inscriptions on bronze vessels of various sorts. The former type of graphic record is referred to as the oracle bone script while the latter is com of this sort of graph are shown in Figure 3.1. The more truly representational a monly known· as the bronze script. The script of this period is already a fully graph is, the more difficult and time-consuming it is to depict. There is a natural developed writing system, capable of recording the contemporary Chinese lan tendency for such graphs to become progressively simplified and stylized as a guage in a complete and unambiguous manner. The maturity of this early script writing system matures and becomes more widely used. As a result, pictographs has suggested to many scholars that it must have passed through a fairly long gradually tend to lose their obvious pictorial quality. The graph for qui'in 'dog' period of development before reaching this stage, but the few examples of writing shown in Figure 3.2 can serve as a good illustration of this sort of development. -
The Challenge of Chinese Character Acquisition
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: Department of Teaching, Department of Teaching, Learning and Teacher Learning and Teacher Education Education 2017 The hC allenge of Chinese Character Acquisition: Leveraging Multimodality in Overcoming a Centuries-Old Problem Justin Olmanson University of Nebraska at Lincoln, [email protected] Xianquan Chrystal Liu University of Nebraska - Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/teachlearnfacpub Part of the Bilingual, Multilingual, and Multicultural Education Commons, Chinese Studies Commons, Curriculum and Instruction Commons, Instructional Media Design Commons, Language and Literacy Education Commons, Online and Distance Education Commons, and the Teacher Education and Professional Development Commons Olmanson, Justin and Liu, Xianquan Chrystal, "The hC allenge of Chinese Character Acquisition: Leveraging Multimodality in Overcoming a Centuries-Old Problem" (2017). Faculty Publications: Department of Teaching, Learning and Teacher Education. 239. http://digitalcommons.unl.edu/teachlearnfacpub/239 This Article is brought to you for free and open access by the Department of Teaching, Learning and Teacher Education at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: Department of Teaching, Learning and Teacher Education by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Volume 4 (2017) -
The Chinese Strokes
The Chinese SSStrokesStrokes Far from being complicated drawings, Chinese characters are made out of simple single strokes, all of them variations of only eight basic ones. All strokes have their own name and are written according to a few rules. 1. The following are the first six strokes, the fundamental ones: as in the horizontal stroke character heng (written from left to right) yi (one) as in the vertical stroke character shu (written from top to bottom) shi (ten) as in the down stroke to the left character pie (written from top right to bottom left) ba (eight) as in the down stroke to the right character na (written from top left to bottom right) ru (to enter) as in the dot character dian (written from top to bottom right or left) liu (six) as in the upward stroke character ti (written from bottom left to top right) , 我 ba (to grasp) 2. The last two strokes have several different variations. The first group is composed by five strokes with a hook: as in the character henggou horizontal stroke with a hook zi (character) as in the character shugou vertical stroke with a hook xiao (small) as in the character wangou bending stroke with a hook gou (dog) as in the character xiegou slant stroke with a hook wo (I, me) as in the level bending stroke with a character pinggou hook wang (to forget) 3. And the following by two single strokes with a turn: as in the character vertical stroke with a horizontal shuzhe turn to the right yi (doctor, medicine) as in the horizontal stroke with a vertical character hengzhe turn kou (mouth) 4. -
CJK Strokes Range: 31C0–31EF
CJK Strokes Range: 31C0–31EF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation. -
General Explanations Nihon Kokugo Daijiten Editorial Policy 1
General Explanations Nihon kokugo daijiten Editorial Policy 1. This dictionary attempts to offer a historical account of the meanings and usages of the Japanese language through reference to various written materials. 2. Entry items include the vocabulary of modern Japanese as well as items from historical texts. Proper nouns, including names of places and people, and technical and specialized terms are also included. 3. Definitions of a given word are generally arranged in historical order; usage citations are accompanied by the name of the text in which they appear. 4. Sources for citations are taken from a broad spectrum of texts including literary, historical, religious, and other works of various periods. 5. Citation sources range from works of antiquity to works of the Meiji, Taishō, and Shōwa periods. Chinese texts are also used for Sino-Japanese words. 6. Citations are taken from the most reliable versions of historical texts; in cases where variant texts are cited, notice is given. 7. Identification of citations is a specific as possible. In order to facilitate comprehension, some citations include the author's name and the field with which the text is associated. 8. Separate subheadings for Dialectal Variants, Etymology, Pronunciation, and Premodern Dictionary Citations are included with commentary where appropriate. 9. Entry headings and definitions are based on modern standards, and are intended to make location and comprehension as easy as possible. Components of the Descriptions The descriptions of words in this dictionary are composed of the following elements: entry heading, historical kana orthography, kanji, part of speech, definitions, examples and sources, supplementary notes, dialectal variants, etymology, pronunciation, and premodern dictionary citations. -
Chinese Character Synthesis Using METAPOST
Chinese character synthesis using METAPOST Candy L. K. Yiu, Wai Wong Department of Computer Science, Hong Kong Baptist University [candyyiu,wwong]@comp.hkbu.edu.hk Abstract A serious problem in Chinese information exchange in this rapidly advancing Internet time is the sheer quantity of characters. Commonly used character en- coding systems cannot include all characters, and often fonts do not contain all characters either. In professional and scholarly documents, these unencoded char- acters are quite common. This situation hinders the development of information exchange because special care has to be taken to handle these characters, such as embedding the character as an image. This paper describes our attempt towards solving the problem. Our approach utilizes the intrinsic characteristic of Chinese characters, that is, each character is formed by combining strokes and radicals. We defined a Chinese character description language named HanGlyph, to cap- ture the topological relation of the strokes in a character. We are developing a Chinese Character Synthesis System CCSS which transforms HanGlyph descrip- tions into graphical representations. A large part of the CCSS is implemented in METAPOST. 1 Introduction tion is compact and can be targeted to a variety The rapid advancement of the Internet and the Web of rendering styles. The section on the HanGlyph provides an effective means of information exchange. Chinese character description language describes the However, there is a very serious problem in exchang- language in more detail. Secondly, we use META- ing Chinese documents: the number of Chinese char- POST as our rendering engine to take advantage of acters that now exist or have ever existed is un- its meta-ness and the ability of specifying paths and known. -
Myocrtool: Visualization System for Generating Associative Images of Chinese Characters in Smart Devices
Hindawi Complexity Volume 2021, Article ID 5583287, 14 pages https://doi.org/10.1155/2021/5583287 Research Article MyOcrTool: Visualization System for Generating Associative Images of Chinese Characters in Smart Devices Laxmisha Rai and Hong Li College of Electronic and Information Engineering, Shandong University of Science and Technology, Qingdao 266590, China Correspondence should be addressed to Laxmisha Rai; [email protected] Received 6 February 2021; Revised 12 March 2021; Accepted 16 April 2021; Published 11 May 2021 Academic Editor: Abd E.I.-Baset Hassanien Copyright © 2021 Laxmisha Rai and Hong Li. )is is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Majority of Chinese characters are pictographic characters with strong associative ability and when a character appears for Chinese readers, they usually associate with the objects, or actions related to the character immediately. Having this background, we propose a system to visualize the simplified Chinese characters, so that developing any skills of either reading or writing Chinese characters is not necessary. Considering the extensive use and application of mobile devices, automatic identification of Chinese characters and display of associative images are made possible in smart devices to facilitate quick overview of a Chinese text. )is work is of practical significance considering the research and development of real-time Chinese text recognition, display of associative images and for such users who would like to visualize the text with only images. )e proposed Chinese character recognition system and visualization tool is named as MyOcrTool and developed for Android platform. -
Research and Discussion on the Stereotyped Writing Criticism of Jiangxi School
2017 3rd International Conference on Social Science, Management and Economics (SSME 2017) ISBN: 978-1-60595-462-2 Research and Discussion on the Stereotyped Writing Criticism of Jiangxi School Xiaolian Li1 Abstract The stereotyped writing criticism of Jiangxi School is an important school in Chinese literature history. It is not only an influential existence on literature, but also politically gives impact on historical development. Qing dynasty literature in almost all areas have made great progress that make the various forms of genre of Chinese classical literature have been into the comprehensive prosperity. The rhythm of the eight-part essay writing features can also be of composition structure shift from above, the inversion analysis of rhythm of the reasonable explanation. Eight-part essays writing have speaking format, the arrangement of each part of the article structure and should be treated according to certain programs. This paper integrates the related result to propose the new idea on the stereotyped writing criticism genre that propose the novel perspective for the related research areas. Keywords: Stereotyped Writing, Criticism, Jiangxi School Introduction In Ming dynasty, the imperial examinations in the four article in the eleventh year of Chenghua not to evolve into a new paradigm, namely in the main body of the article and eight couplet to complete the subject, this paper is unique to be the eight-part essays, and gradually replaced four article as system is the general term for righteousness. Initially this format is mostly appear in the sentence subject, then gradually covered other types of topic, became the most popular Chenghua and Hongzhi after made art paradigm. -
Portland State University
American Oriental Society Western Branch 2008 PROGRAM October 24-25, Portland, Oregon Co-sponsored by The Department of Foreign Languages & Literatures Portland State University Meeting Sites Friday Morning: Double sessions will occur at The Old Church: 1422 SW 11th Avenue (at Clay Street). Street-car stop: 11th and Clay. From Mark Spencer Hotel: Turn right as you exit the hotel, and walk ten blocks up 11th Avenue to Clay Street. The Old Church is on the left. Or, turn right as you exit the hotel, then board the South Waterfront street-car at 11th and Alder; ride three stops to Clay Street. Return to hotel by boarding the NW 23rd Avenue street-car on 10th. The Portland Streetcar is free within the downtown core; cars run every 10-15 minutes; the trip to The Old Church is about a 7-minute ride. Friday Afternoon and Saturday: Full sessions in The Pearl Room, basement of the Mark Spencer Hotel: 409 SW 11th Avenue (at Stark Street). From airport: Take the MAX Light Rail train for $2.30; trains run every 15 minutes, ride takes 42 minutes. Get off at The Galleria, on Morrison Street between 9th and 10th Avenues. Walk 1½ blocks forward (to 11th), and 2 ½ blocks right (past Washington Street). Hotel is on the corner of 11th and Stark. From AMTRAK: walk 12 blocks south and 3 blocks west; or take a cab; or walk 4 blocks to 11th Avenue and take the Streetcar to Stark or Alder. Friday Evening Reception: In the Browsing Lounge (Room 238), Smith Memorial Student Union, Portland State University.