Summer School in Classical Chinese and Japanese July 6-31, 2020

Total Page:16

File Type:pdf, Size:1020Kb

Summer School in Classical Chinese and Japanese July 6-31, 2020 Summer School in Classical Chinese and Japanese July 6-31, 2020 Summer School The Ca’ Foscari - Princeton Summer School Study options in Classical Chinese and Classical Japanese/ Track A – Classical Chinese in Classical Chinese Kanbun is unique in its kind. It offers two 80 contact hours of language study and eight and Japanese tracks of comprehensive, grammar-focused additional lectures. The course provides the instruction which are designed especially for fundamentals of classical Chinese grammar students who wish to develop their linguistic through the reading and analysis of passages of expertise for graduate study in any discipline of pre-modern Chinese historical and literary texts. premodern China or Japan. Visit one of the world’s Prerequisites: one year of modern Chinese most famous cities Both tracks are taught by the principal language. instructors of the classical language programs Learn Classical Chinese or at Ca’ Foscari and Princeton. In addition to Track B - Classical Japanese/Kanbun Japanese/Kanbun in an 80 hours of class time, students will follow a 80 contact hours of language study and international environment lecture series on topics in premodern Chinese additional lectures. The course provides the and Japanese culture (history, literature, fundamentals of classical Japanese and kanbun thought). Both tracks welcome students who grammar along with readings in the major Get academic credits genres of pre-modern Japanese historical and during a summer abroad are beginners in Classical Chinese or Japanese, as well as those who already have some literary texts. background foundation. Prerequisites: at least one year of modern Japanese language. Dates: July 6 to 31 (4 weeks) Fees Location: Venice, Italy – Ca’ Foscari University, The fees include all tuition, access to University School for International Education (SIE) facilities and services, course materials and issue of final transcript. Credits: 12 ECTS or equivalent of one full semester (80 classroom hours plus additional Accommodation lectures) Shared accommodation is available at the student residence Santa Marta. Prices start at around €25 per student per night. Ca’ Foscari School Fees: € 1.300,00 (accommodation not for International Education San Sebastiano included) Meals Dorsoduro 1686 Students will be able to access the University 30123 Venezia Programme directors: Professors Tiziana cafeteria (budget max. €15 per day). 041 234 7086 Lippiello (Ca’ Foscari University of Venice, Italy) www.unive.it/summer-international and Martin Kern (Princeton University, USA) Apply online [email protected] www.unive.it/summer-international.
Recommended publications
  • On Translation a Short Introduction to the Japanese Language Will
    On Translation A short introduction to the Japanese language will illustrate the kind of difficulties one encounters in translating Japanese into the European languages, and vice versa. Linguistically, Japanese is an isolated language. It has no relation to Chinese. It must have had some relation to Korean, another isolated language, but the two went into different directions thousands of years ago. Some linguists claim that the Japanese language, along with the Korean, belongs to the Ural-Altaic family, yet the claim remains hypothetical. The Japanese language features some characteristics that would seem most strange to those who are only familiar with the European languages. For example, a grammatical subject is unnecessary in Japanese to construct a grammatically complete sentence. “淋しい” (Sabishii) means (someone is) lonely. It is a complete sentence, but there is no subject. The sentence may mean ‘I’m lonely,’ ‘you are lonely,’ ‘he/she is lonely,’ ‘the rock is lonely,’ ‘all human beings are lonely,’ etc, depending on the context. It may furthermore refer to a vague sense of loneliness which needn’t be specified. It is true that in some European languages, such as Italian, a grammatically complete sentence is possible without a named subject. But the subject can always be determined by the inflection of the verb (and often also by the changes in the articles, adjectives and nouns): “Sono sola,” “Sei solo.” A Japanese sentence may be very long and still be without a subject. Tale of Genji , for instance, might contain a sequence of three long sentences without subjects, yet in each a different subject would be implied.
    [Show full text]
  • Title Classical Japanese in Linguistic and Cross-Cultural Perspective Sub
    Title Classical Japanese in linguistic and cross-cultural perspective Sub Title Author De Wolf, Charles Publisher 慶應義塾大学日吉紀要刊行委員会 Publication 2020 year Jtitle 慶應義塾大学日吉紀要. 英語英米文学 (The Keio University Hiyoshi review of English studies). Vol.73, No.2020 (9. ) ,p.69- 87 Abstract Notes Genre Departmental Bulletin Paper URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?ko ara_id=AN10030060-20200930-0069 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または 出版社/発行者に帰属し、その権利は著作権法によって保護されています。引用にあたっては、著作権法を遵守して ご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Classical Japanese in Linguistic and Cross-Cultural Perspective1) Charles De Wolf In the preface to his famous A Dictionary of the English Language (1755), Samuel Johnson notes: “When we see men grow old and die at a certain time one after another, from century to century, we laugh at the elixir that promises to prolong life to a thousand years; and with equal justice may the lexicographer be derided, who being able to produce no example of a nation that has preserved their words and phrases from mutability, shall imagine that his dictionary can embalm his language, and secure it from corruption and decay, that it is in his power to change sublunary nature, or clear the world at once from folly, vanity, and affectation.” I cite this not only to show that, though no modern linguist, Johnson was quite aware that “mutability” applies to human language as well as all else that is “sublunary,” but also to note that, as learned as he was, Johnson knew far less about the history of the English language than anyone with curiosity and access to Wikipedia can learn, in a matter of minutes or at most hours.
    [Show full text]
  • Source-Based Translation and Foreignization: a Japanese Case
    Source-Based Translation and Foreignization Source-Based Translation and Foreignization: A Japanese Case Yukari Fukuchi Meldrum Modern Languages and Cultural Studies, University of Alberta Introduction Foreignization, as currently understood in Translation Studies, is a concept that is charged with “more emphasis on the ideological pressure against the target-language culture than on the faithfulness to the original text” (Tamaki, 2005: 239). In other words, it is a conscious operation of bringing a foreign flavor into translations in order to counteract the effects of domestication, claimed by Venuti (1995) to be the cause of invisibility of translation and translators. Tamaki, in her 2005 paper, also cautions that the concept of foreignization should not be confused with a literal method of translation. Literal translation does not involve ideological intentions and is a mere translation method. In this paper, I will attempt to provide a supporting view that source-based translation, often seen in Japanese translation, needs to be understood outside of foreignization in the above sense. Specifically, I will illustrate that Japanese readers, in premodern times, had to gain specific knowledge and adapt to what was required in order to read and interpret texts in a satisfactory manner. This could have been a factor for the source-orientedness of Japanese translations still observed in a certain form today. By examining this background of Japanese text culture, the more source-based translation is shown to be merely a translation carried out by a literal method without any political or ideological intentions. Therefore, the concept of foreignization does not have a place in Japanese translation.
    [Show full text]
  • The Japanese Writing Systems, Script Reforms and the Eradication of the Kanji Writing System: Native Speakers’ Views Lovisa Österman
    The Japanese writing systems, script reforms and the eradication of the Kanji writing system: native speakers’ views Lovisa Österman Lund University, Centre for Languages and Literature Bachelor’s Thesis Japanese B.A. Course (JAPK11 Spring term 2018) Supervisor: Shinichiro Ishihara Abstract This study aims to deduce what Japanese native speakers think of the Japanese writing systems, and in particular what native speakers’ opinions are concerning Kanji, the logographic writing system which consists of Chinese characters. The Japanese written language has something that most languages do not; namely a total of ​ ​ three writing systems. First, there is the Kana writing system, which consists of the two syllabaries: Hiragana and Katakana. The two syllabaries essentially figure the same way, but are used for different purposes. Secondly, there is the Rōmaji writing system, which is Japanese written using latin letters. And finally, there is the Kanji writing system. Learning this is often at first an exhausting task, because not only must one learn the two phonematic writing systems (Hiragana and Katakana), but to be able to properly read and write in Japanese, one should also learn how to read and write a great amount of logographic signs; namely the Kanji. For example, to be able to read and understand books or newspaper without using any aiding tools such as dictionaries, one would need to have learned the 2136 Jōyō Kanji (regular-use Chinese characters). With the twentieth century’s progress in technology, comparing with twenty years ago, in this day and age one could probably theoretically get by alright without knowing how to write Kanji by hand, seeing as we are writing less and less by hand and more by technological devices.
    [Show full text]
  • Kanbun 漢文 Had Played for That
    Self-introduction Sota TANAKA 田中 草大 Faculty of Letters, Kyoto University 京都大学 文学部 Studying the history of Japanese language, especially written Japanese. “A Study on Hentai Kanbun in the Heian Period ”, Bensei Pubishing, 2019 2 Aims of this talk To give an overview of the history of written Japanese languages and to explain what role kanbun 漢文 had played for that. More specifically... This talk explains how classical written Chinese became a means to write Japanese (the key to that is kundoku 訓読, by which Chinese texts are read as Japanese). Furthermore, I will show that kanbun had contributed to the long-term usage of bungobun 文語文(written Japanese by the classical grammar) in the history of Japanese. 3 An overview of the history of written Japanese (1) It began with the introduction of kanji 漢字 (Chinese characters), so writing in Japan was nothing else than writing Chinese at first. It is estimated that it dates back to the 5th century. Later, people began to use kanji for writing Japanese, by making use of two functions of kanji. (1) Its phonographic 表音 function → Writing with man’yōgana 万葉仮名文 (2) Its morphographic 表語 function→ Kanbun style writing 漢文 6 An overview of the history of written Japanese (1) (1) Its phonographic 表音 function → Writing with man’yōgana 万葉仮名文 e.g. 皮(波)留久佐乃 皮斯米之刀斯(難波宮出土木簡, early in the 7c.?) 由吉能伊呂遠 有婆比弖佐家流 有米能波奈...(万葉集・巻5-850, 8c.) → Used almost exclusively in waka (和歌, Japanese verses). 7 An overview of the history of written Japanese (1) (2) Its morphographic 表語 function → Kanbun style writing 漢文 Writing Japanese by applying a kanji to a Japanese word (morpheme) e.g.
    [Show full text]
  • Premodern East Asia and the Power of Character Scripts Wiebke Denecke
    15 Worlds Without Translation: Premodern East Asia and the Power of Character Scripts Wiebke Denecke We are used to thinking that translation is indispensable. An English speaker without competence in Latin does not understand Virgil unless he is translated into English. But we forget that this is partly a function of the alphabetic script Latin and English use. Translation has not been a prerequisite for full mutual intelligibility with char- acter scripts that rely heavily on logographic writing, in which each character stands for a word (more precisely a morpheme). As we will see below, into the twentieth century an educated Japanese, for example, could read a Chinese text by pronouncing it in Japanese, without any knowledge of Chinese or any need for translation. All cultures that were arguably independent sites of script invention developed scripts with a strong logographic component: Mesopotamian cuneiform, Egyptian hiero- glyphs, Chinese characters, and Maya glyphs. Of these primary scripts only Chinese survives today, vigorously, from its already mature form in the thirteenth century bce into our digital age. It is used in the sinophone world, in Japan, and to a limited degree in Korea, and it stands as a thought-provoking exception to the alphabetic scripts that dominate much of today’s world. Some scholars have, justly, downplayed the difference between logographic systems, where the relation between sign and sound is more flexible, and syllabic or alphabetic systems, which are more prescriptive and phonographic (recording sound). I. J. Gelb’s (1963) scheme that assumes a progression from logographic to syllabic to alphabetic writing systems is questionable (Daniels and Bright 1996, 8–10).
    [Show full text]
  • Arxiv:1812.01718V1 [Cs.CV] 3 Dec 2018
    Deep Learning for Classical Japanese Literature Tarin Clanuwat∗ Mikel Bober-Irizar Center for Open Data in the Humanities Royal Grammar School, Guildford Asanobu Kitamoto Alex Lamb Center for Open Data in the Humanities MILA, Université de Montréal Kazuaki Yamamoto David Ha National Institute of Japanese Literature Google Brain Abstract Much of machine learning research focuses on producing models which perform well on benchmark tasks, in turn improving our understanding of the challenges associated with those tasks. From the perspective of ML researchers, the content of the task itself is largely irrelevant, and thus there have increasingly been calls for benchmark tasks to more heavily focus on problems which are of social or cultural relevance. In this work, we introduce Kuzushiji-MNIST, a dataset which focuses on Kuzushiji (cursive Japanese), as well as two larger, more challenging datasets, Kuzushiji-49 and Kuzushiji-Kanji. Through these datasets, we wish to engage the machine learning community into the world of classical Japanese literature. 1 Introduction Recorded historical documents give us a peek into the past. We are able to glimpse the world before our time; and see its culture, norms, and values to reflect on our own. Japan has very unique historical pathway. Historically, Japan and its culture was relatively isolated from the West, until the Meiji restoration in 1868 where Japanese leaders reformed its education system to modernize its culture. This caused drastic changes in the Japanese language, writing and printing systems. Due to the modernization of Japanese language in this era, cursive Kuzushiji (くずしc) script is no longer taught in the official school curriculum.
    [Show full text]
  • Japanese Major and Minor Revised: 06/2021
    Japanese Major and Minor www.DEALL.Pitt.edu/Japanese/Japanese-Major Revised: 06/2021 The Department of East Asian Languages and Literatures offers courses in the language, literature, film, linguistics, and culture of China and Japan; the department offers both a major and a minor in Japanese. A full sequence of courses in the modern standard language of Japan and a variety of offerings, ranging from introductory to specialized, illuminate various facets of Japanese civilization. Students whose interests range broadly across the civilization of East Asia may want to take advantage of the Asian Studies certificate program. The departmental curriculum for the Japanese major is composed of three main categories as follows. Courses designed to develop competence in the four skills of the Japanese language, plus courses for advanced study. Courses taught in English and focused on the mainstream of Japanese culture as reflected in literature, drama, and film. Courses for the advanced study of literature and linguistic analysis. Required courses for the Japanese major Capstone course The Japanese major requires the completion of 54 credits JPNSE 1999 Capstone Project (three credits) must be taken distributed as follows. during the student’s last term as an undergraduate. Language courses Non-departmental course requirements JPNSE 0001 First Year Japanese 1 + Students must complete three courses related to Japan offered JPNSE 0002 First Year Japanese 2 + by other Dietrich School of Arts and Sciences departments. Two JPNSE 0003 Second Year Japanese 1 + of these courses must have at least 50% Japan-related content. JPNSE 0004 Second Year Japanese 2 + The Asian Studies Center at the University Center for JPNSE 1020 Third Year Japanese 1 International Studies (UCIS) maintains a list of Asia-related JPNSE 1021 Third Year Japanese 2 classes, which students may use to identify Japan-related + Note: JPNSE 1061 may replace both JPNSE 0001 and JPNSE 0002; JPNSE 1062 courses.
    [Show full text]
  • Orthographic Representation and Variation Within the Japanese Writing System Some Corpus-Based Observations
    John Benjamins Publishing Company This is a contribution from Written Language & Literacy 15:2 © 2012. John Benjamins Publishing Company This electronic file may not be altered in any way. The author(s) of this article is/are permitted to use this PDF file to generate printed copies to be used by way of offprints, for their personal use only. Permission is granted by the publishers to post this file on a closed server which is accessible to members (students and staff) only of the author’s/s’ institute, it is not permitted to post this PDF on the open internet. For any other use of this material prior written permission should be obtained from the publishers or through the Copyright Clearance Center (for USA: www.copyright.com). Please contact [email protected] or consult our website: www.benjamins.com Tables of Contents, abstracts and guidelines are available at www.benjamins.com Orthographic representation and variation within the Japanese writing system Some corpus-based observations Terry Joyce, Bor Hodošček & Kikuko Nishina Tama University / Tokyo Institute of Technology / Tokyo Institute of Technology, Japan Given its multi-scriptal nature, the Japanese writing system can potentially yield some important insights into the complex relationships that can exist between units of language and units of writing. This paper discusses some of the difficult issues surrounding the notions of orthographic representation and variation within the Japanese writing system, as seen from the perspective of creating word lists based on the Kokuritsu
    [Show full text]
  • The Creation of the Modern Japanese Language in Meiji-Era
    The Creation of the Modern Japanese Language in Meiji-Era Paul H. Clark A way to look at the history of the modern Japanese language is to look at what came before and after 1903. This year represents a fundamental division in our understanding of the Japanese language and, by extension, Japanese culture. The reforms instituted in 1903 represented an effort by the Japanese Meiji government to promote a mutually comprehensible language. At the turn of the twentieth century, there were at least four different ways of rendering the language in the written form. It is easy to imagine that this was a serious impediment to the economic, political and cultural development of Japan. Indeed, it is hard to characterize Japan as a modern nation-state until it gained a common form of communication. Today, the Japanese language is a source of national pride and occupies a special position in the national consciousness of the Japanese. The purpose of this essay is to describe how a common form of communication—both in the written and spoken forms—came into existence in Japan. We will discuss what motivated the ruling elite of Japan to make such a change, how the various forms of the language were altered to create modern Japanese, and some of the prominent people and events which will assist us in more fully understanding the movement. A Short History Before describing how modern Japanese assumed its contemporary appearance around the turn of the 20th century, it might be best to describe the various prior forms and how they came to influence the modern form.
    [Show full text]
  • The Japanese Typesetting Expressions Manual
    (c) The Electronic Book Publishers Association of Japan THE JAPANESE TYPESETTING EXPRESSIONS MANUAL (c) The Electronic Book Publishers Association of Japan CONTENTS 1.Characters …………………………………………………………… 1 1-1.Typeface …………………………………………………………………………1 1-2.Mixed Text composition …………………………………………………………1 1-3. Character Size …………………………………………………………………1 1-4. Henbai(Cho-tai, Hei-tai) ………………………………………………………1 1-5. Character Colour ………………………………………………………………1 1-6. Character Weight(Including Bold) ………………………………………………2 1-7. Italic ……………………………………………………………………………2 1-8. Character Rotation ……………………………………………………………2 1-9. All Caps ………………………………………………………………………2 1-10. Small Caps ……………………………………………………………………3 1-11.Outline Character /Shadow Text ………………………………………………3 1-12. Ornament Characters …………………………………………………………3 1-13. Encircled Character, Character In Parenthesis ………………………………3 1-14.Combining Characters …………………………………………………………4 1-15. Kanji Variants …………………………………………………………………4 1-16. Inter-Character Space …………………………………………………………4 1-17. Even Tsumegumi(Tracking) ……………………………………………………4 1-18. Kerning ………………………………………………………………………5 2. Word …………………………………………………………………… 5 2-1. Bousen (sideline) ………………………………………………………………5 2-2. Emphasis Dots …………………………………………………………………5 2-3. Rectangular Ruled Lines ………………………………………………………6 2-4. Group Ruby ……………………………………………………………………6 2-5. Compound Word Ruby(reference) ………………………………………………6 2-6. Sitatsuki Ruby …………………………………………………………………7 2-7. Nakatsuki/Katatsuki ……………………………………………………………7 2-8. Rubykake ………………………………………………………………………7 2-9. Tate-Chu-Yoko …………………………………………………………………8
    [Show full text]
  • Linguistic Reform in Meiji Japan
    2 Sound, Scripts, and Styles Kanbun kundokutai and the National Language Reforms of 1880s Japan This chapter explores the popularity of kanbun kundokutai (kanbun-style language in “Japanese” syntactical order with “Japanese” suffixes), which proliferated as a “common language” (futsūbun) in the second decade of the Meiji period, as well as the anti-kanji reforms and discourses that co-existed with this popularity. As I mentioned in the introduction, the issue of kanbun kundokutai is compelling, given that kan, too often uncritically equated with “China,” is treated as a negative reference point against which to posit kokugo, a “national” form of prose.1 The focus on de-Asianization (datsua) in the Meiji period, which has become espe- cially strong given the postcolonial trends in recent literary studies, reinforces the desire to retain kan as the other to the “modern.” As if to supplement such a narrative, much work has been done on the link between the new national lit- erature (kokubungaku) scholars and the Edo nativists (kokugaku), focusing on what Meiji kokubungaku scholars rejected and inherited in their efforts to produce kokugo. However, without exploring the relationship between kokugo and kanbun kundokutai, existing scholarship presents kokugo as if it emerged from a vacuum (or from a kokugaku lineage that had somehow remained dormant until the 1890s). Perhaps to offset such a narrative, critics tend to posit nationalism as that which preceded and hence prompted the emergence of kokugo. This is part and parcel of the teleological narrative, because it once again posits nationalism as the primary motivation. This chapter inquires into the manner in which kokugo negotiated with the proliferation of kanbun kundokutai before the Ueda-led kokugo reform era, and shows how the emergence of kokugo in fact appropriated the realm of kanbun kundokutai.
    [Show full text]