Prosodic Structure in Chinese Characters, Revisited

Total Page:16

File Type:pdf, Size:1020Kb

Prosodic Structure in Chinese Characters, Revisited Prosodic structure Thanks! Overview • Grants from Taiwan’s National Science Council / • Character “prosody” Ministry of Science and Technology: • in Chinese characters, • NSC 97‐2410‐H‐194‐067‐MY3, NSC101‐2410‐H‐194‐115‐ Radical position and reduction MY3, MOST 103‐2410‐H‐194‐119‐MY3 • Reduplication revisited • Many lab assistants over the years: • Stroke shape and position • Ko Yuguang, Yang Chentsung, Hsu Chiung‐Wen, Hong • Guo‐Ming, Hsu Zi‐Ping, Du Pei‐Fen, Su Yu‐Ting, Liu Yu‐ Lengthened strokes James Myers Jay, Chuang Wei‐Chiang, Hsieh Yu‐Yi, Pan Hsiao‐Yin, Su • Curved strokes National Chung Cheng University Si‐Qi • Hooked strokes [email protected] • Plus: • Chen Tsung‐Ying, Zev Handel, Wolfgang Behr, Jane Tsay, Niina Zhang, and Lin Yu‐Hsuan 2 3 ILAS Workshop on Phonetics and Phonology – October 2017 Overview Chinese characters are productive Chinese character grammar • Duality of patterning • Character “prosody” Exponential growth • Radical position and reduction Productivity “Morphology” (model fit > 80%) • • Reduplication implies Recursion (Sproat, 2000) • Stroke shape and position grammar…. 鱗 • Lengthened strokes • • Curved strokes Shape regularities (Wang, 1983) • Hooked strokes 牛 → 特 cf. 牢 “Phonology” • “Prosody”: global shape constraints • Myers (1996, 2016) Data from Yip (2000, p. 19) 4 5 6 Character prosody Overview Radicals (部首) as affixes • Chinese characters tend to show: • Character “prosody” • Morphological properties • Binarity • Closed class • Asymmetrical edge prominence (right and bottom) • Radical position and reduction • Bound • These have wide‐ranging effects on components & strokes • Reduplication • Semantically bleached • Similar to metrical feet in spoken & signed languages • Stroke shape and position • Phonological properties • Two‐dimensional “feet”: • Lengthened strokes • Favor prosodically “weak” positions • Curved strokes 1 2 • Suppletive allomorphs • Hooked strokes • General reduction rules 1 2 7 8 9 Most characters have left/top radicals Most radicals favor the left or top The left/bottom alternation 9000 8000 • Radicals that most favor the left also sometimes appear on the bottom (see previous slide) 7000 6000 詞~警 Informal writing also favors 5000 left‐side radicals (Wang, 1983): • A prosodic explanation 4000 Left‐sided radicals are “light” horizontally but “heavy” 3000 vertically: Distinct characters 1 2000 1 2 2 1000 1 1 0 Left Right Top Bottom Other 2 2 Computed from 13,060 traditional characters in Tsai (2006) 10 11 12 Radicals may reduce in “weak” position Grammaticalization of radicals Frequency affects grammaticalization • Some radicals have suppletive forms at left/top • Vietnamese (Chữ Nôm) radicals acted more like roots 心~忙人~位水~泊手~拾 • Often “synonymic”, not “taxonymic” (Handel, 2016; 艸~花竹~筆 cf. ancient logographic systems: Rude, 1986) Frequency decreases reduction • But not at right or bottom (generally) • Also often lacked formal reduction: tay ‘arm’ in “strong” positions, increases reduction in “weak” positions 忙~忘泊~泉拾~拿狗~狀 (cf. 分~刻燙~熱) Traditional characters go here • PRC simplification: “Weak” reduction is extended • Other radicals reduce in a more regular way 词~警铅~鉴红~累 • Wang (1983): Diagonalization and stroke reduction 金:鉛~鑒土:地~型牛:物~牽 (cf. 詞~警鉛~鑒紅~累) 木:村~果米:精~粱衣:被~裝 (using Tsai, 2006, database) • May even apply to non‐radicals: 且:助~宜 (Mixed‐effects logistic regression by radical: Left/top vs. right/bottom : p < .0001; 13 14 interaction between frequency and position only marginal: p = .06) 15 Testing radical position productivity So let’s run a new experiment! Priming to boost position effect? • Chinese readers were shown fake characters and asked to judge if they were like characters (「像中文字嗎?」) • Lexicality: Component is/isn’t a “real” radical Horizontal (left/right) Vertical (top/bottom) 1 1 • Grammaticality: Is/isn’t in “weak” position (left/top) 0.9 0.9 0.8 Prefer radicals at left, 0.8 Likewise for radicals at 0.7 even fake ones 0.7 top, but only real ones 0.6 0.6 0.5 0.5 0.4 0.4 0.3 0.3 Acceptance rate 0.2 Acceptance rate 0.2 0.1 0.1 0 0 Grammatical Ungrammatical Grammatical Ungrammatical Lexical radical Nonlexical radical Lexical radical Nonlexical radical Created by Chen Tsung‐Ying (Chen & Myers, 2017); Mixed‐effects logistic regression on all items: Grammaticality (p < .0001); Lexicality (p < .05); • Problem: Position is confounded with reduction 16 this experiment was run with him too 17 Grammaticality x Orientation (p < .0001); Grammaticality x Lexicality (p < .0001) 18 Interaction with horizontal reduction Overview Reduplication patterns • Binary horizontal reduplication 林比兢朋弱嚇雙選窳替質瑩 • Character “prosody” • Binary vertical reduplication Unreduced Reduced • Radical position and reduction 1 1 昌吕圭戔多炎哥棗僵渁 0.9 Prefer radicals at left, 0.9 But grammaticality • Reduplication • Triangular reduplication (binary both ways) 0.8 even fake ones, even 0.8 effect is stronger for 0.7 0.7 if not reduced reduced ones • Stroke shape and position 品惢鑫蟲晶畾森聶众磊轟犇 0.6 0.6 • 0.5 0.5 Lengthened strokes • Square reduplication is quite rare: 叕 0.4 0.4 • Curved strokes 0.3 0.3 • Not productive as a full template (splittable): 爽爾齒繼器 Acceptance rate 0.2 Acceptance rate 0.2 • Hooked strokes 0.1 0.1 • Exceptions are quite rare and restricted: 0 0 Grammatical Ungrammatical Grammatical Ungrammatical Non‐binarity (mostly single strokes): 三州巡黑靈 Lexical radical Nonlexical radical Lexical radical Nonlexical radical Inverted triangles (not a single template): 熒 Mixed‐effects logistic regression on all items: Grammaticality (p < .0001); Lexicality (p < .05); Splitting of horizontal reduplication (we’ll come back to this): 變 Grammaticality x Lexicality (p < .05); Grammaticality x Reduction (p < .05) 19 20 21 Deriving reduplication Testing reduplication productivity Grammar independent of lexicon • Productive reduplication requires abstract rules or templates (Berent et al., 2014) • Myers, J. (2016). Knowing Chinese character Significant • So 林 is 木 + [XX], not 木+木 grammar. Cognition, 147, 127‐132. • Abstract reduplication in the PRC: 雙:双 聶:聂 轟:轰 • Regular reduction still applies: No interaction 根林 兟甡玨 • Triangles are derived from binarity + symmetry: 1 2 1 Significant 2 22 23 24 Grammar & lexicon at same time Overview Enlargement in strong positions • Character “prosody” • Lowest component is enlarged, even if it’s not free • Radical position and reduction 昌吕圭戔炎 串官 二夫土未 • Reduplication • Similarly for rightmost component • Stroke shape and position 林川州井 • Lengthened strokes • Exceptional top prominence triggers adjacent clash • Curved strokes Clash: 士末畢 No clash: 聿重垂事 • Hooked strokes Normal Exceptional + clash Exceptional + no clash Survival analysis (Baayen & Blanche, 2017): Plots the evolving probability of acceptance vs. rejection (vertical bar marks when probability rises above chance) 25 26 27 The variety of vertical strokes Distribution of plain strokes Distribution of curved strokes • Left: 同甬行高商岡門雨竹 • Left: 非拜介廾川州卅爪瓜并升飛片爿辡 月丹舟周角用虎戶底大右力及看爿片 • Middle: 十中木東本不川卅爪丫羊半下雨 忄(忙)亻(仁)牜(牠) 串甲申車革幸聿年韋市午平丰 • Middle: ... (does 班 count?) • Vertical stroke shape (plain, curved, hooked) is never (?) lexically distinctive by itself • Right: 非拜介廾川州卅爿 • Right: ... • Yet the contrast is apparently important enough to appear in many fonts: 十介丁 十介丁 十介丁 28 29 30 Distribution of hooked strokes Some surface generalizations Curves: A deeper generalization • Plain stroke is default • Left: ... • Curves appear in “weak” position at left: • Also allows bottom contact: 口廿上並 • Curved stroke is also shorter than rightmost: 川 • Curved stroke appears on left, • • Middle: 丁亍予亇乎于小水手事爭扌(把)朩 “Left” is defined within a “prosodic” domain: especially in “tall/thin” components (Wang, 1983): 周 vs.同 • Separate components vs. wholes: 門周 月用周角 • Hooked stroke appears on right with material above it: • Thin/tall = one prosodic domain: • Right: 寸才可竹刂(到) • Fat/squat = two prosodic domains: 同甬高商 可周同 (㇆)月周同角高商雨門句弓 • Examples conforming to this pattern: e.g. : fat/squat free 肉 vs. its tall/thin radical allomorph: 月 • Hook on right but no material above it: 寸才扌(<手)刂(<刀) • A prediction (thanks to Lin Yu‐Hsuan): • Hook with material above it but not on right: 丁爭 • Thin/tall components favor left/right radicals more than • Hook without material above and not on right: 手小水事 fat/squat components, which also like top/bottom radicals • A near minimal pair consistent with this prediction: 角: 唃埆捔桷确斛(0% top‐ or bottom‐side radicals) 甬: 俑埇蛹誦踊悀捅桶涌勇恿筩(25% top/bottom) 31 32 33 Testing curving and radical position Testing the acceptability of lengthening and curving Lengthening & curving results 180 16% 160 • Another Worldlikeness experiment Lengthening Curving Straight‐side components 0.7 0.7 140 take more top/bottom (with Chen Tsung‐Ying) Strong > weak: p < .001 Weak > strong: ns 120 radicals: squatter! • Testing 380 combinations of stroke size, shape, position, 0.6 0.6 100 0.5 0.5 6% and orientation:「有中文字的感覺嗎?」 80 Top/bottom radical 0.4 0.4 60 Left/right radical 0.3 0.3 Acceptability Acceptability Number of characters 40 0.2 0.2 20 0.1 0 0.1 Curved Straight 0 0 Left stroke Horizontal (三)Vertical (川) Leftmost Other Fisher’s test, p < .05, testing 丹月用有舟角周風 vs. 巾內冉冊冋市同向朿肉冏甬兩岡高商喬 Strong position Weak position as non‐radicals in 227 characters with only one level of embedding (mixed‐effects logistic regression confirms that this pattern not due to base component type frequency) 34 35 (Mixed‐effects linear regression on arcsine‐transformed Likert‐scale judgments) 36 Hooking is more lexicalized Hooks: Deeper generalizations? Testing the acceptability of hooking
Recommended publications
  • 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.
    [Show full text]
  • Universal Multiple-Octet Coded Character
    Universal Multiple-Octet Coded Character Set (UCS) ISO/IEC JTC 1/SC 2/WG 2 N4701 Date: 2015-10-23 Source: WG 2 meeting 64, Kunibiki Messe, Matsue, Shimane, Japan; 2015-10-19/23 Title: Recommendations from WG 2 meeting 64 Action: For approval by SC 2 and for information to WG 2 Status: Adopted at meeting 64 of WG 2 Distribution: WG2 meeting 64 (ISO/IEC JTC 1/SC 2 and WG 2) Experts accredited by the national bodies or liaison organizations for Canada, China, IRG, Japan, SEI - UC Berkeley (Liaison), TCA (Liaison), the United Kingdom, the Unicode Consortium (Liaison), and the USA were present when the following recommendations were adopted (see attached attendance list). Character count 120585 in 4th edition 101 additions in DAM1 to the 4th edition 11630 in PDAM2.1 (end of meeting 63) Character count 132316 (total allocated till end of meeting 63) Note: Some of the referenced proposals in this document are contributions from the Unicode Consortium and do not have a WG2 document number. Observation M64.01 (Amendment 2 changes since meeting 63): WG2 notes that in addition to the total of 11630 characters listed in recommendation M63.11 (document N4604), progression of Amendment 2 through PDAM 2.2 and to DAM2 stages has resulted in several changes as summarized in document N4665. The net is that total number of characters that went for DAM2 ballot was 7332. count: 7332 additions in Amendment 2 Observation M64.02 (Additions in 5th edition ballot): WG2 also notes that the balloted text for CD of the 5th edition contained the Amendment 1 and DAM2 content, plus several changes.
    [Show full text]
  • Using a Radical-Derived Character E-Learning Platform to Increase Learner Knowledge of Chinese Characters
    Language Learning & Technology February 2013, Volume 17, Number 1 http://llt.msu.edu/issues/february2013/chenetal.pdf pp. 89–106 USING A RADICAL-DERIVED CHARACTER E-LEARNING PLATFORM TO INCREASE LEARNER KNOWLEDGE OF CHINESE CHARACTERS Hsueh-Chih Chen, National Taiwan Normal University Chih-Chun Hsu, National Defense University Li-Yun Chang, University of Pittsburgh Yu-Chi Lin, National Taiwan Normal University Kuo-En Chang, National Taiwan Normal University Yao-Ting Sung, National Taiwan Normal University The present study is aimed at investigating the effect of a radical-derived Chinese character teaching strategy on enhancing Chinese as a Foreign Language (CFL) learners’ Chinese orthographic awareness. An e-learning teaching platform, based on statistical data from the Chinese Orthography Database Explorer (Chen, Chang, L.Y., Chou, Sung, & Chang, K.E., 2011), was established and used as an auxiliary teaching tool. A nonequivalent pretest-posttest quasi-experiment was conducted, with 129 Chinese- American CFL learners as participants (69 people in the experimental group and 60 people in the comparison group), to examine the effectiveness of the e-learning platform. After a three-week course—involving instruction on Chinese orthographic knowledge and at least seven phonetic/semantic radicals and their derivative characters per week—the experimental group performed significantly better than the comparison group on a phonetic radical awareness test, a semantic radical awareness test, as well as an orthography knowledge test. Keywords: Chinese as a Foreign Language (CFL), Chinese Orthographic Awareness, Radical-Derived Character Instructional Method, Phonetic/Semantic Radicals INTRODUCTION The rise of China to international prominence in recent years has made learning Chinese extremely popular, and increasing numbers of non-native Chinese students have begun to choose Chinese as their second language of study.
    [Show full text]
  • 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.
    [Show full text]
  • Proposal to Encode Small Seal Script in UCS Source: TCA and China Action: for Consideration by JTC1/SC2/WG2
    ISO/IEC JTC1/SC2/WG2 N4634 Date: 2014-09-30 Title: Proposal to encode Small Seal Script in UCS Source: TCA and China Action: For consideration by JTC1/SC2/WG2 This document proposes to encode 10,516 Small Seal Script characters in UCS. Note: This document shows 799 of 10,516 characters, with TrueType fonts. The fonts of remaining ones will be provided later. The 799 characters in this document are selected from Volume 1 of the 14 volumes Tenghuaxie version Shuowen Jiezi (14 卷 藤花榭本說文解字). 1. Small Seal Script and the Book Shuowen Jiezi The Small Seal script (小篆) is a kind of ancient Chinese script, predecessor of modern Chinese (漢字, Hanzi). The book Shuowen Jiezi (說文解字), edited by Xu Shen (許慎, 58 AD to 147 AD), collects the Small Seal characters of Qin Dynasty (秦, 220 BC to 206 BC) of China. The collection contains 9,353 canonical Small Seal characters, 1163 variants (called “Chongwen” in Shuowen Jiezi). Chongwen contains Zhouwen (籀文, Small Seal script in Zhou Dynasty, 周 1046 BC to 256 BC) and Guwen (古文, the scripts used in the other six nations excluding Qin in the Warring States period, 475 BC to 221 BC) which are incompatible with Small Seal characters. There were two types of publicly accepted scripts prevailing in Qin Dynasty, canonical Small Seal script and clerical script which was used by the public (known as Qin Li in philology, also named Gu Li to distinguish from subsequent Han Li). Some people think Small Seal script is a calligraphy typeface, which is a misunderstanding.
    [Show full text]
  • The Origin and Evolvement of Chinese Characters
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portal Czasopism Naukowych (E-Journals) BI WEI THE ORIGIN AND EVOLVEMENT OF CHINESE CHARACTERS Writing, the carrier of culture and the symbol of human civilization, fi rst appeared in Sumer1. Like other ancient languages of Egypt and India, ancient Sumerian symbols have been lost in the process of history, but only Chinese characters still remain in use today. They have played a signifi cant role in the development of Chinese lan- guage and culture. This article intends to display how Chinese characters were creat- ed and how they were simplifi ed from the ancient form of writing to more abstract. Origin of Chinese characters Chinese characters, in their initial forms, were beautiful and appropriately refl ected images in the minds of ancient Chinese that complied with their understanding of reality. Chinese people selected the way of expressing meaning by fi gures and pic- tures, and Chinese characters begun with drawings. Three Myths in Ancient Times It is diffi cult to determine the specifi c time when the Chinese characters emerged. There are three old myths about the origin of Chinese characters. The fi rst refers to the belief that Chinese characters were created by Fu Xi – the fi rst of Three Sovereigns2 in ancient China, who has drew the Eight Trigrams which have evolved into Chinese characters. The mysterious Eight Trigrams3 used for divination are composed of the symbols “–” and “– –”, representing Yang and Yin respectively. 1 I.J. Gelb, Sumerian language, [in:] Encyclopedia Britannica Online, Encyclopedia Britannica, re- trieved 30.07.2011, www.britannica.com.
    [Show full text]
  • Index Časopisu Studia Orientalia Slovaca Ročníkov 1–10 (2002–2011) · a Cumulative Index to Studia Orientalia Slovaca Vols 1–10 (2002–2011)
    Index časopisu Studia Orientalia Slovaca ročníkov 1–10 (2002–2011) · A Cumulative Index to Studia Orientalia Slovaca vols 1–10 (2002–2011) Zostavili · compiled by Raoul David Findeisen Martin Slobodník∗ Štúdie · Articles 1 Anderl, Christoph. »Notes on the Development of Vernacular Literature in China and the Language of the Early Recorded Sayings« 4: 103–124 2 Andrš, Dušan. »Role umění v živote člověka: Feng Zikai a jeho příspěvek k čínské estetice první poloviny 20. století« [The Role of Art in the Life of Man: Feng Zikai and his Contribution to Chinese Aesthetics of the First Half of the Twentieth Century] 4: 153–175 3 Benická, Jana. »Čínsky mahāyānový buddhizmus: odstupňované spôsoby vhliadania pravej povahy sveta« [Chinese Mahāyāna Buddhism: Different Stages of Discernment of the True Nature of the Phenomenal World] 1: 29–42 4 ——.»Večné “ja” v čínskom buddhizme? Rozhovory majstra Nanyang Huizhonga s „chanovým hosťom z juhu“« [Eternal »Self« in Chinese Buddhism? The Dialogues between Chan Master Nanyang Huizhong and the »Chan Guest from the South«] 2: 61–78 This index has been compiled with the cooperation of Katarína Čavojská, Ján Ďurica, Hana Kucharovičová, and Stanislav Vavrovský, hereby gratefully acknowledged. 458 Findeisen/Slobodník · Contents SOS 1–10 (2002–2011) 5 ——. »Taiwanci, Japonci alebo Číňania? O taiwanskej spoločnosti počas japonskej okupácie ostrova očami spisovateľa Wu Zhuoliua (1900–1976)« [Taiwanese, Japanese or Chinese? Taiwanese Society under Japanese Occupation as Viewed by the Writer Wu Zhuoliu (1900–1976)] 4: 125–140 6 ——. »Yogācāra a jej teória existencie “objektívnej podpory mysle”« [Yogācāra and Its Theory on the Existence of the »Objective Support« of the Mind] 6: 105–122 7 ——.
    [Show full text]
  • The Writing Revolution
    9781405154062_1_pre.qxd 8/8/08 4:42 PM Page iii The Writing Revolution Cuneiform to the Internet Amalia E. Gnanadesikan A John Wiley & Sons, Ltd., Publication 9781405154062_1_pre.qxd 8/8/08 4:42 PM Page iv This edition first published 2009 © 2009 Amalia E. Gnanadesikan Blackwell Publishing was acquired by John Wiley & Sons in February 2007. Blackwell’s publishing program has been merged with Wiley’s global Scientific, Technical, and Medical business to form Wiley-Blackwell. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Amalia E. Gnanadesikan to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks.
    [Show full text]
  • A Study of the Standardization of Chinese Writing/ Ying Wang University of Massachusetts Amherst
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2008 A study of the standardization of Chinese writing/ Ying Wang University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Wang, Ying, "A study of the standardization of Chinese writing/" (2008). Masters Theses 1911 - February 2014. 2060. Retrieved from https://scholarworks.umass.edu/theses/2060 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A STUDY OF THE STANDARDIZATION OF CHINESE WRITING A Thesis Presented by YING WANG Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Asian Languages and Literatures © Copyright by Ying Wang All Rights Reserved STUDIES OF THE STANDARDIZATION OF CHINESE WRITING A Thesis Presented by YING WANG Approved as to style and content by: hongwei Shen, Chair Donald E. GjertsoH, Member Enhua Zhang, Member hongwei Shen, Director Asian Languages and Literatures Program Department of Languages, Literatures and Cultures Julie Caii s, Chair Departira hguages, Literatures and Cultures ACKNOWLEDGEMENTS I would like to earnestly thank my advisor, Professor Zhongwei Shen, for his helpful, patient guidance and support in all the stages of my thesis writing. Thanks are also due to my committee members Professor Donald Gjertson and Professor Enhua Zhang, for their generous help. My friends, Mathew Flannery and Charlotte Mason, have also edited thesis my in various stages, and to them I am truly grateful.
    [Show full text]
  • The WAY of CHINESE CHARACTERS
    The WAY of CHINESE CHARACTERS 漢字之道 The ORIGINS of 670 ESSENTIAL WORDS SECOND EDITION JIANHSIN WU SAMPLEILLUSTRATED BY CHEN ZHENG AND CHEN TIAN CHENG & TSUI BOSTON Copyright © 2016 by Cheng & Tsui Company, Inc. Second Edition All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, scanning, or any information storage or retrieval system, without written permission from the publisher. 23 22 21 19 18 17 16 15 1 2 3 4 5 6 7 8 9 10 Published by Cheng & Tsui Company, Inc. 25 West Street Boston, MA 02111-1213 USA Fax (617) 426-3669 www.cheng-tsui.com “Bringing Asia to the World”TM ISBN 978-1-62291-046-5 Illustrated by Chen Zheng and Chen Tian The Library of Congress has cataloged the first edition as follows: Wu, Jian-hsin. The Way of Chinese characters : the origins of 400 essential words = [Han zi zhi dao] / by Jianhsin Wu ; illustrations by Chen Zheng and Chen Tian. p. cm. Parallel title in Chinese characters. ISBN 978-0-88727-527-2 1. Chinese characters. 2. Chinese language--Writing. I. Title. II. Title: Han zi zhi dao. PL1171.W74 2007 808’.04951--dc22 2007062006 PrintedSAMPLE in the United States of America Photo Credits front cover ©Fotohunter/ShutterStock CONTENTS Preface v Basic Radicals 1 Numerals 17 Characters by Pinyin (A-Z) A - F 21 G - K 65 L - R 106 S - W 143 X - Z 180 Indexes CHARACTER INDEX by Integrated Chinese Lesson 227 CHARACTER INDEX by Pinyin 239 CHARACTER INDEX: TRADITIONAL by Stroke Count 251 CHARACTERSAMPLE INDEX: SIMPLIFIED by Stroke Count 263 ABOUT the AUTHOR JIANHSIN WU received her Ph.D from the Department of East Asian Languages and Literatures at University of Wisconsin, Madison.
    [Show full text]
  • Open Kanji in the JFL Classroom Thesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ASIAN STUDIES The Current State of Kanji Learning in the Japanese Foreign Language Classroom ALEXANDRA ELKINS SPRING 2021 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Asian Studies with honors in Japanese Reviewed and approved* by the following: Susan Strauss Associate Professor of Applied Linguistics, Asian Studies, Education, and Linguistics Thesis Supervisor Jonathan Abel Associate Professor of Comparative Literature and Japanese Honors Adviser * Electronic approvals are on file. i ABSTRACT Kanji has long been thought of as the most difficult thing to learn within the Japanese language. Scholars such as Heath Rose and Yoshiko Mori have dedicated extensive amounts of time to figure out what is behind the difficulties of kanji learning and give possible answers as to how teachers can make it easier for students. However, by focusing on which kanji teaching methods are the best and worst, these scholars have overlooked the most important part of finding a solution to the problem. Who is having the hardest time? The answers provided in most of the scholarly work thus far assume students to have the greatest number of difficulties and attempt to pinpoint the root of these difficulties in either the actions of the students or teachers. Rather than trying to provide an answer that fixes any problem faced while teaching kanji, this thesis instead attempts to reevaluate the problem itself. By looking at how kanji is treated in the Japanese language, viewed by Japanese people, and taught in the Japanese foreign language classroom, every part of kanji acquisition is acknowledged.
    [Show full text]
  • Animation of Chinese Characters: Evolution of Shapes and Styles*
    Journal of Literature and Art Studies, May 2016, Vol. 6, No. 5, 523-529 doi: 10.17265/2159-5836/2016.05.009 D DAVID PUBLISHING Animation of Chinese Characters: Evolution of Shapes and Styles* WANG Ning HU Jia-jia Beihang University, Beijing, China Beijing Normal University, Beijing, China Hanzi (Chinese characters) has a long history and affluent contents. To promote the popularity of historical and cultural knowledge of Chinese characters, an online program has been launched by Beihang University and Beijing Normal University to explain Chinese characters’ original meanings and evolution processes with vivid and expressive animation videos. Currently, More than 1,000 videos can be accessed through the website “http://www.chinesecharacter.org/”. Besides these online resources, a human-computer interaction system is also proposed to simulate clerical changes of Chinese characters through computer morphing technology. What we want is to make the teaching and learning of Chinese characters more reasonable, more easily understandable and more interesting. Keywords: animation, evolution of Chinese characters, original meaning, clerical change Introduction Since 2013, a multidisciplinary research project named “Digital Technologies and Systems to Visualize Evolution of Chinese Characters” has been jointly developed by “State Key Laboratory of Virtual Reality Technology and Systems” at Beihang University and “Research Institute of Chinese Characters and Chinese Information Processing” at Beijing Normal University. This paper is one fruit of the big project. The first section gives a brief background. The second section introduces an online program to explain Chinese characters’ original meanings and evolution using computer animation technology. The third section proposes a teaching system to simulate clerical changes of Chinese characters through computer morphing technology.
    [Show full text]