Sinophone Southeast Asia
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Example Sentences
English 中文 harmony Opening/ Home page Tap on a button in the loading pentagon to dive into that Upon opening the app, the world. Pressing the yin yang user will see “English” and in the center takes you to the “中文” merge into a yin app’s “About” page. yang. That reflects the goal of harmony - to help the user Most things are labeled learn Cantonese and/or in English and Chinese to Mandarin through a bilingual help the user learn Chinese experience without getting more quickly, but this (and too stressed. Soothing colors, many other things) can be pleasing visuals, and relaxing changed in the settings and music keep the user at peace. preferences. harmony (Icons in top navigation bar, from left to right: home button, help button, and harmony settings button.) Dictionary (initial) When you first open the By default, the app only shows dictionary, it shows the items you the last 15 items you you last looked at - your looked at, but you can change history. The green tabs along this in the settings menu. the bottom allow you to swipe between items you recently The search bar is fixed as you viewed, items you starred, or scroll so you can search at any items most popular with other point (instead of having to harmony users. scroll back up to the top). Here, all the characters are in Traditional Chinese because the user left the “Traditional Chinese” checkbox in the search bar checked. The app remembers your choice even after you leave the dictionary section. harmony Choosing Typing in type of input your query To begin your search, you’ll Tapping the search field will want to first choose your make the keyboard pop up type of input by pressing the and allow you to type in your button next to the search field. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
A Preliminary Study of Kaoka 高甲 Playscripts in the Philippines
chapter 6 A Preliminary Study of Kaoka 高甲 Playscripts in the Philippines Caroline Chia 1 Introduction As part of a book on Sinitic languages in Southeast Asia, particularly those that are increasingly endangered, this chapter emphasizes “Sinophone” and “Sinitic voices” in the Philippines. Briefly defined, the Sinophone landscape involves Sinitic languages, including Hokkien, and the associated cultures and com- munities which historically experienced colonialism and have increasingly been marginalized in more recent times.1 Here I focus on Sinophone speech, including the soundscapes in which speech is embedded, through theatrical performance in Hokkien. Kaoka was once a popular form of entertainment in Southeast Asia, but the Philippines is the only country in the region that still performs this theatrical art today. I furthermore aim to highlight the diversity of Sinophonic representations as seen in Kaoka playscripts. In these sources, only the phonetic elements have been preserved, whereas the logographic representations (known as Sinographs or Hanzi 漢字) have been omitted. As regards the “Sinitic voices” that this chapter – and this book in general – aims to highlight in the context of Southeast Asia’s Chinese minorities, the academic focus has previously been on the migration and economic devel- opment of Chinese communities in this region. These developments remain important and will be taken into consideration, but the focus here is on filling the cultural and linguistic gaps in scholarship on Kaoka in the Philippines. The people from south Fujian, known as the Hokkiens (ban lam lang 閩南 人), came in large numbers and migrated to different parts of Southeast Asia.2 Despite Southeast Asia’s relatively early interactions with Chinese people 1 Part of this definition is adapted from the Cambria Sinophone World Series, http://www .cambriapress.com/cambriaseries.cfm?template=85, retrieved 25 April 2020. -
Singapour, Malaisie : Le Cinéma ! 16 Décembre 2009 - 1Er Mars 2010 Singapour, Malaisie Sommaire
SINGAPOUR, MALAISIE : LE CINÉMA ! 16 DÉCEMBRE 2009 - 1ER MARS 2010 SINGAPOUR, MALAISIE SOMMAIRE AZhY^[[gZcihk^hV\ZhYjX^cbV SINGAPOUR, MALAISIE : YZH^c\VedjgZiYZBVaV^h^Z!eVg?gbnHZ\Vn!eV\Z( 8VgiZ\d\gVe]^fjZ!eV\Z* LE CINÉMA ! H^c\VedjgZiaVBVaV^h^Z/VjXVggZ[djgYZaÉ6h^Z! eVgGVe]V aB^aaZi!eV\Z* À LA DÉCOUVERTE DE NOUVEAUX HVcXZheghZciZheVg½!eV\Z- TERRITOIRES EN 50 FILMS FjZhi^dchYZX^cbV/Xdc[gZcXZZigZcXdcigZh!eV\Z&% du 16 décembre 2009 Au 1er mArs 2010 Au centre PomPidou AZhhijY^dhBVaVn;^abEgdYjXi^dch YZhH]Vl7gdi]ZghZi8Vi]Vn"@Zg^hYZAd`ZLVcI]d! cinéma 1 et cinéma 2 eVgGVe]V aB^aaZi!eV\Z&& Singapour, malaisie, points encore trop méconnus sur la carte majeure de l’asie du Hncdeh^hYZhÒabh/ Sud-est. De leurs voisins coréen, thaïlandais, philippin, on a appris à connaître les secrets ½aZhighdghYZhhijY^dh H]Vl7gdi]ZghZi8Vi]Vn"@Zg^h!eV\Z&( cinématographiques, quant à Singapour et Kuala Lumpur, on assiste à une renaissance stimulante du cinéma. impulsée par la légèreté des nouveaux moyens de prise de vue, ½YZH^c\Vedjg!eV\Z'- mue par le talent d’une jeune génération prolifique autant que solidaire, ½YZBVaV^h^Z!eV\Z(- sous-tendue par un contexte social multiethnique, une histoire dense et un présent >cYZmVae]VWi^fjZYZhÒabh!eV\Z*' politique complexe, cette ébullition se fait remarquer par sa modernité. il y a urgence à découvrir les rythmes et les mythes de cette cinématographie inédite, 8VaZcYg^ZgYjXnXaZ!eV\Z*) autant de nécessité à se plonger dans son passé récent à travers les héros et les meilleurs AZaV^hhZo"eVhhZgYj8ZcigZEdbe^Ydj!eV\Z+' films de genre qui l’ont nourrie, tous inédits en europe pour le moment. -
Homophones and Tonal Patterns in English-Chinese Transliteration
Homophones and Tonal Patterns in English-Chinese Transliteration Oi Yee Kwong Department of Chinese, Translation and Linguistics City University of Hong Kong Tat Chee Avenue, Kowloon, Hong Kong [email protected] to overcome the problem and model the charac- Abstract ter choice directly. Meanwhile, Chinese is a typical tonal language and the tone information The abundance of homophones in Chinese can help distinguish certain homophones. Pho- significantly increases the number of similarly neme mapping studies seldom make use of tone acceptable candidates in English-to-Chinese information. Transliteration is also an open transliteration (E2C ). The dialectal factor also problem, as new names come up everyday and leads to different transliteration practice. We there is no absolute or one-to-one transliterated compare E2C between Mandarin Chinese and Cantonese, and report work in progress for version for any name. Although direct ortho- dealing with homophones and tonal patterns graphic mapping has implicitly or partially mod- despite potential skewed distributions of indi- elled the tone information via individual charac- vidual Chinese characters in the training data. ters, the model nevertheless heavily depends on the availability of training data and could be 1 Introduction skewed by the distribution of a certain homo- phone and thus precludes an acceptable translit- This paper addresses the problem of automatic eration alternative. We therefore propose to English-Chinese forward transliteration (referred model the sound and tone together in E2C . In to as E2C hereafter). this way we attempt to deal with homophones There are only a few hundred Chinese charac- more reasonably especially when the training ters commonly used in names, but their combina- data is limited. -
A Note on Orthography and Transcription
A Note on Orthography and Transcription there are two major problems with transcribing Cantonese speech on paper. The first is the lack of a fully standardized Cantonese script. In this book, I have done my best to produce the transcripts in ways that I think reflect common existing practices.I n 1999, the Hong Kong Special Administrative Region government published a Chinese character set known as the Hong Kong Supplementary Character Set (HKSCS). The latest version of the HKSCS (2001) contains 4,818 Chi- nese characters that are specific to the Hong Kong environment (Hong Kong Special Administrative Region Government, Information Technol- ogy Services Department 2004). This character set can be seen as a first step toward a standardized Cantonese script. As a rule, all the characters used in my transcriptions are taken from the HKSCS. The second is the problem of romanization. Several romanization schemes for Cantonese are in circulation. The Yale and Meyer-Wempe systems appear to be the most commonly adopted in the English-language literature. In this book, I follow the new Cantonese Romanization Scheme, or Jyutping system, promoted by the Linguistic Society of Hong Kong. Jyutping is intuitive to Cantonese speakers. It is also convenient, because it is based solely on alphanumeric characters (unlike the Yale system, for example, which uses diacritics). But Jyutping is a relatively new system; readers who are familiar with the Yale system may find the new system difficult to follow in the beginning. The key features of the Jyutping sys- tem are the following. 1 . Consonants. In Cantonese, consonants (shown in Table 1), are di- vided into initial consonants, or onsets (those that occupy the initial position of a syllable), and final consonants, or codas (those that oc- cupy the final position of a syllable). -
Cantonese As a World Language from Pearl River and Beyond
Volume 10 Issue 2 (2021) Cantonese as a World Language From Pearl River and Beyond Jiaqing Zeng1 and Asif Agha2 1St. Paul’s School, Concord, NH, USA 2University of Pennsylvania, Philadelphia, PA, USA DOI: https://doi.org/10.47611/jsrhs.v10i2.1435 ABSTRACT In this paper, I will be comparing different registers of Cantonese from all around the world, mainly focusing on the Pearl River Delta region after the 1800s. Yet my larger purpose is to draw attention to how these different registers relate to the cultural values and social lives of the people living in those places. Max Weinreich, a pioneer sociolinguist and Yiddish scholar once said, “a language is a dialect with an army and a navy (Fishman).” Cantonese is no exception, and the state of this language has been dependent upon four factors: the geographic distribution of the Cantonese- speaking population, the economic development of Cantonese-speaking regions, official status, and international sig- nificance. Introduction Cantonese is one of the Chinese dialects and the mother tongue for the Guangfu people of Han Chinese, who were originally from China’s Lingnan region. The language has a complete set of nine tones, retaining many features of Middle Ancient Chinese since the area seldom suffered from wars and was unaffected by the nomadic minorities in northern China. It has a complete series of characters that can be expressed independently from other Chinese lan- guages, and it is the only Chinese language that has been studied in foreign universities in addition to Mandarin. It originated from Canton (Guangzhou) because of the important role that Canton had played in China’s important pol- itics, economy, and culture since ancient times, and it still has official status in Hong Kong and Macau today. -
A-Guide-To-Selected-Chinese-Clan
1 CONTENTS A. TEOH SI CHENG HOE TONG PENANG 4 Bincheng Zhangshi Qinghe Tang 260-B, Lebuh Carnarvon, 10100 Pulau Pinang. B. CHEW SI KEE SAN TONG 6 Bincheng Zhoushi Qishan Tang 33, Lebuh Kimberley, 10100 Pulau Pinang. C. PERSATUAN ZHUANG & YAN PULAU PINANG 8 Binzhou Zhuangyan Tongzonghui 26, Lebuh Kimberley,10100 Pulau Pinang. D. LAM YEONG TONG YAP TEMPLE 10 Bincheng Nanyang Tang Yeshi Zongci 71, Lebuh Armenian, 10200 Pulau Pinang. E. LEONG SAN TONG KHOO KONGSI 12 Longshan Tang Qiu Gongsi 18, Medan Cannon, 10200 Pulau Pinang. F. SEH TEK TONG CHEAH KONGSI 16 Shide Tang Xie Gongsi 8, Lebuh Armenian, 10200 Pulau Pinang. G. ENG CHUAN TONG TAN KONGSI 20 Yingchuan Tang Chen Kongsi 28, Seh Tan Court, Lebuh Pantai, 10300 Pulau Pinang. H. BOON SAN TONG KHOO KONGSI 22 Wenshan Tang Qiu Gongsi 117A, Lebuh Victoria, 10300 Pulau Pinang. MAP 26 I. HAR YANG SIT TEIK TONG YEOH KONGSI 28 Bincheng Xiayang Zhide Tang Yang Gongsi 3, Gat Lebuh Chulia, 10300 Pulau Pinang. 2 J. KEW LEONG TONG LIM KONGSI 32 Bincheng Jiulong Tang Lin Gongsi 234, Lebuh Pantai, 10300 Pulau Pinang. K. KOO SAING WOOI PENANG 36 Bincheng Liu Guan Zhang Zhao Guchenghui 67, Lebuh King, 10200 Pulau Pinang. L. CHIN SI TOONG SOO 38 Bineng Chenshi Zongci 64, Lebuh King, 10200 Pulau Pinang. M. NG SEE KAH MIEW 40 Wushi Jiamiao 40, Lebuh King, 10200 Pulau Pinang. N. LEE SIH CHONG SOO, PENANG 42 Bincheng Lishi Zongci 39, Lebuh King, 10200 Pulau Pinang. O. TAY KOON OH KONGSI | TENG BEE OH TOON BOK TONG | SEH FOO KONGSI ANN TENG TONG 44 Dijun Hu Gongsi 70, Lebuh Penang, 10200 Pulau Pinang. -
1 Introduction to Jyutping 粵拼(A Cantonese
Introduction to Jyutping 粵拼 (A Cantonese Romanization) There are 6 tones in Jyutping. Initials n b bai1 瘸 (adj.) limp n p pai1 批 (v.) to approve n m mai1 咪 (n.) microphone n f fai1 輝 (n.) brilliance n d dai1 低 (adj.) low n t tai1 梯 (n.) ladder n n nai4 泥 (n.) soil n l lai4 嚟 (v.) to come n g gai1 雞 (n.) chicken n k kai1 溪 (n.) brook n ng ngai1 哀 (v.) to beg n h hai6 係 (v.) be 1 n gw gwai3 貴 (adj.) expensive n kw kwai1 虧 (n.) deficit n w wai3 喂 (v.) to feed n z zai1 劑 (n.) dose n c cai1 妻 (n.) wife n s sai1 西 (n.) west n j jai1 曳 (adj.) silly Finals Vowel: aa n aa zaa1 揸 (v.) to hold n aai zaai1 齋 (n.) vegan n aau zaau1 嘲 to make fun of n aam zaam6 站 (n.) station n aan zaan3 讚 (v.) to praise n aang zaang1 爭 (v.) to fight for n aap zaap6 集 (v.) to gather n aat zaat3 扎 (n.) bundle n aak zaak3 窄 (adj.) narrow Vowel: a n ai zai1 擠 (v.) to squeeze (an object) n au zau1 周 (adv.) around n am zam1 斟 (v.) to pour n an zan1 真 (adj.) real n ang zang1 憎 (v.) to hate n ap zap1 汁 (n.) juice n at zat2 侄 (n.) nephew/niece n ak zak1 側 (n.) lateral 2 Vowel: e n e se2 寫 (v.) to write n ei sei3 四 (num.) four n eu* deu6 掉 (v.) to dump n em* lem2 舔 (v.) to lick n eng beng6 病 (adj.) sick n ep* gep2 夾 (n.) clip n ek sek6 石 (n.) stone/rock Vowel: i n i si1 詩 (n.) poem n iu siu1 消 (v.) to disappear n im sim2 閃 (adj.) sparkling n in sin1 先 (adv.) first n ing sing1 升 (v.) to elevate n ip sip3 攝 (v.) to shoot (a scene) n it sit3 洩 (v.) to divulge n ik sik1 識 (v.) to know Vowel: o n o ho2 可 (aux.) can n oi hoi1 開 (v.) to open n ou hou2 好 (adj.) good n on hon6 汗 (n.) -
Names of Chinese People in Singapore
101 Lodz Papers in Pragmatics 7.1 (2011): 101-133 DOI: 10.2478/v10016-011-0005-6 Lee Cher Leng Department of Chinese Studies, National University of Singapore ETHNOGRAPHY OF SINGAPORE CHINESE NAMES: RACE, RELIGION, AND REPRESENTATION Abstract Singapore Chinese is part of the Chinese Diaspora.This research shows how Singapore Chinese names reflect the Chinese naming tradition of surnames and generation names, as well as Straits Chinese influence. The names also reflect the beliefs and religion of Singapore Chinese. More significantly, a change of identity and representation is reflected in the names of earlier settlers and Singapore Chinese today. This paper aims to show the general naming traditions of Chinese in Singapore as well as a change in ideology and trends due to globalization. Keywords Singapore, Chinese, names, identity, beliefs, globalization. 1. Introduction When parents choose a name for a child, the name necessarily reflects their thoughts and aspirations with regards to the child. These thoughts and aspirations are shaped by the historical, social, cultural or spiritual setting of the time and place they are living in whether or not they are aware of them. Thus, the study of names is an important window through which one could view how these parents prefer their children to be perceived by society at large, according to the identities, roles, values, hierarchies or expectations constructed within a social space. Goodenough explains this culturally driven context of names and naming practices: Department of Chinese Studies, National University of Singapore The Shaw Foundation Building, Block AS7, Level 5 5 Arts Link, Singapore 117570 e-mail: [email protected] 102 Lee Cher Leng Ethnography of Singapore Chinese Names: Race, Religion, and Representation Different naming and address customs necessarily select different things about the self for communication and consequent emphasis. -
Butt Pirates
Wing Chun Kuen: A Revised Historical Perspective (Part 2: Red Junks, pirates and secret societies) Abstract In the previous article, the Wing Chun ‘myth’ was dismissed due to the lack of supporting evidence for the existence of the Southern Shaolin Monastery. It would appear that the Southern Shaolin Monastery and the subsequent account of its destruction was based on the verified Northern Shaolin Monastery. In this article, an alternate historical account for the development of Wing Chun is provided, where fiction becomes fact. This is achieved through analysing how and why Wing Chun developed within a travelling Cantonese Opera Company during a turbulent time of China’s history, where piracy and political violence were prevalent. Introduction From the first article, the historical accuracy of the Wing Chun legend was discussed with the ‘traditional’ historical accounts of Ng Mui and the Southern Shaolin Monastery being questioned due to the lack of any verifiable evidence. The core argument centred on establishing whether the stronger historical account of the Tiandihui, who share the same history in part, with Wing Chun, could accurately verify the existence of the Southern Shaolin Monastery. Although the Tiandihui ‘foundation account’ which is shared with candidates at initiation ceremonies make reference to the Southern Shaolin Monastery, historical records of the Tiandihui do not provide the location for the Monastery. It is most likely that the Guanyinting Pavillion, a small roadside temple was where the Tiandihui first met, although given the size, it is very unlikely to have been a working Monastery. Additionally, given the parallels between the Tiandihui’s ‘foundation account’ and the verified historical sources from the Northern Shaolin Monastery, it would appear that the ‘foundation account’ was a direct copy from the Northern Shaolin Monastery. -
Language and Identity: Sky Lee's Disappearing Moon
LANGUAGE AND IDENTITY: SKY LEE’S DISAPPEARING MOON CAFE AND WAYSON CHOY’S THE JADE PEONY MONIQUE CLARICE ATTRUX A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN ENGLISH YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2019 © MONIQUE ATTRUX, 2019 Abstract Many critics recognize Sky Lee’s Disappearing Moon Cafe and Wayson Choy’s The Jade Peony for breaking the silence over issues that Chinese Canadians faced in the 1990s such as racism and lack of representation. However, there has not been much discussion on Lee and Choy's exploration of language and identity. These issues are important as they continue to impact Chinese-Canadians and other diasporic communities today. The thesis explores how language in the two novels reveals that Chinese Canadians have complex and mutable identities and how notions of identity challenge the control the hegemonic powers seek to construct and restrict the Chinese identity, which in turn also restricts ideas of language. I attempt to demonstrate how these two novels resist a generic, one-dimensional view of Chinese Canadian identity and language. I conclude that Lee and Choy's novels imply that both Canadian and Chinese hegemonies influence Chinese Canadians' language and identity. ii Dedication I dedicate this thesis to my 婆婆 Poh-Poh. iii Acknowledgements This project would not have been possible were it not for my thesis supervisor, Professor Arun Mukherjee. Many of my insights captured in this thesis came to me as I sat in her class Simulating Translation during the first semester of my Master’s program.