Jurnal Kemanusiaan 15: 1-S (2017), 18–23
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Act II, Signature Xvii - (1)
We can also trace that peculiar social movement which led some factories, ships, restaurants, and households to clean up their backstages to such an extent that, like monks, Communists, or German aldermen, their guards are always up and there is no place where their front is down, while at the same time members of the audience become sufficiently entranced with the society's id to explore the places that had been cleaned up for them [Erving Goffman, The Presentation of Self (New York: Anchor Press, 1959), p. 247]. II — xvii — What Was That Good For? Coalition forces pour into Ossian. In Las Vegas, Roveretto Messimo ponders taking on a new client to pay his bills. A U.S. detachment breaks into the Impersonal Terrace while Fuald, deported back to Ossian, plots revenge by organizing the looting of the Hermitage. Charles, drugged by Ferguson’s alien soporifics, agrees to print an article exposing the eco– terrorist aims of the Founder’s League. In the 13th century, the fanatical inquisitor Conrad prepares to declare anathema against Fr. Anselm. ~ page 215 ~ This is the cover art for the single "War" by the artist Edwin Starr. The cover art copyright is believed to belong to the label, Gordy, or the graphic artist.* "War" Act II, Signature xvii - (1) *[Image & caption credit and following text courtesy of Wikipedia]: "War" is a soul song written by Norman Whitfield and Barrett Strong for the Motown label in 1969. Whitfield first produced the song — a blatant anti-Vietnam War protest — with The Temptations as the original vocalists. After Motown began receiving repeated requests to release "War" as a single, Whitfield re-recorded the song with Edwin Starr as the vocalist, deciding to withhold the Temptations ' version so as not to alienate their more conservative fans. -
LANGUAGE CONTACT and AREAL DIFFUSION in SINITIC LANGUAGES (Pre-Publication Version)
LANGUAGE CONTACT AND AREAL DIFFUSION IN SINITIC LANGUAGES (pre-publication version) Hilary Chappell This analysis includes a description of language contact phenomena such as stratification, hybridization and convergence for Sinitic languages. It also presents typologically unusual grammatical features for Sinitic such as double patient constructions, negative existential constructions and agentive adversative passives, while tracing the development of complementizers and diminutives and demarcating the extent of their use across Sinitic and the Sinospheric zone. Both these kinds of data are then used to explore the issue of the adequacy of the comparative method to model linguistic relationships inside and outside of the Sinitic family. It is argued that any adequate explanation of language family formation and development needs to take into account these different kinds of evidence (or counter-evidence) in modeling genetic relationships. In §1 the application of the comparative method to Chinese is reviewed, closely followed by a brief description of the typological features of Sinitic languages in §2. The main body of this chapter is contained in two final sections: §3 discusses three main outcomes of language contact, while §4 investigates morphosyntactic features that evoke either the North-South divide in Sinitic or areal diffusion of certain features in Southeast and East Asia as opposed to grammaticalization pathways that are crosslinguistically common.i 1. The comparative method and reconstruction of Sinitic In Chinese historical -
"Tho Peking System of Ortography" for the Chinese Language by G
MÉLANGES. On the extended use of "Tho Peking system of ortography" for the Chinese language BY G. SCHLEGEL. Under this title, the late lamented W. F. MAYERS, one of the best sinologues England can boast of, broke a lance against the abuse of the Peking system of ortography which then already (in 1867) became threatening. Nearly 30 years have since elapsed and, we are sorry to say, this abuse has thriven like an obnoxious weed, and menaces to overwhelm and smother entirely the standard pronunciation expressed in the Imperial Dictionary of (or Chang-lasi, as the Pekinese nowadays pronounce) by means of fixed syllabic and tonic symbols. As a whole generation has passed by since our friend wrote this article, and as the younger generation of sinologues does not seem to study the works of their predecessors, and gets as infatuated, (since Peking has been opened) with the bad, half Manchurian, pronunciation, as the Peking Chinese themselves, we deem it of 500 the highest importance to reproduce this article as the best anti- dote against the abuse of the Peking Colloquial dialect for the transcription, not only of the Chinese characters, but also of Chinese proper names, known in Europe and in europeau books on China, only in their standard pronunciation. None of the elder Sinologues, Morrison, Medhurst, Bridgman, Mayers, Stanislas Julien, R6niusat, Gaubil, only to name some of the most renowned, who have been living either in Canton, Bata- via, Peking, Amoy or Europe, have used for the transcription of Chinese characters and names the local brogue of the place where they where living and studying; all of them have used the st,(tiida??d p-?°o??nnciat,io7zin their transcriptions, and we do not see why the present generation should adopt local brogue of Peking as the standard pronunciation for the whole Chinese language. -
Download The
340 | Asian Ethnology 72/2 • 2013 Jeremy E. Taylor, Rethinking Transnational Chinese Cinemas: The Amoy-dialect Film Industry in Cold War Asia Abingdon, Oxford, Uk: Routledge, 2011. 171 pages. Hardback, £90.00; paperback, £26.99. isBn 978-0-415-49355-0 (hardback); 978- 0-415-72832-4 (paperback). In this well-documented and groundbreaking study of Chinese dialect cinema, Taylor introduces to the readers an understudied Chinese film genre—“Amoy- dialect film” (Xiayupian 廈語片)—that remains part of the collective memory for those ethnic Chinese moviegoers who grew up in the cities of Southeast Asia in the 1950s and 1960s. This book goes far beyond reconstructing the historical past of this body of Chinese dialect movies. As promised in the title, the author seeks to participate in the academic debates concerning “Chinese transnational cinema” that began in the late 1990s, and to historicize issues of the geography of Chinese film production in Cold War Asia. From 1948 to the early 1960s, Hong Kong movie studios produced over 240 Amoy-dialect films, half of which were filmed within the short period of three years from 1957 to 1959 (Afhk 2012, 206–259). The production and circulation of this collection of Chinese dialect movies manifests a unique character of boundary- crossing: it was largely financed by the overseas Chinese of Southeast Asia (and lat- er Taiwanese; 26); produced in Hong Kong but rarely exhibited in the Colony, not to mention in mainland China during the Cold War era; and specifically targeted to an Asian regional market sustained by the diasporic Amoy-dialect (Minnanyu, Hokkien; xii) communities that were located in the Philippines (Manila), Peninsula of Malaya (Singapore and Penang), and Taiwan (Tainan, Chaiyi) (22). -
Rethinking Transnational Chinese Cinemas: the Amoy-Dialect Film
Rethinking Transnational Chinese Cinemas The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila, southern Taiwan and Singapore. Films made in Amoy dialect – a dialect of Chinese – reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the ‘recentness’ of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to ‘the nation’ and ‘transnationalism’ in studies of Chinese cinemas and of the Chinese diaspora. By examining a cinema that did not fit many of the scholarly models of ‘transnationalism’, that was not grounded in any particular national tradition of film-making and that was largely unconcerned with ‘nation- building’ in post-war South East Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past. Jeremy E. Taylor is a lecturer in Chinese Studies at the School of East Asian Studies, University of Sheffield, UK. Media, culture and social change in Asia Series editor: Stephanie Hemelryk Donald RMIT University, Melbourne Editorial Board: Devleena Ghosh, University of Technology, Sydney Yingjie Guo, University of Technology, Sydney K.P. -
THE MEDIA's INFLUENCE on SUCCESS and FAILURE of DIALECTS: the CASE of CANTONESE and SHAAN'xi DIALECTS Yuhan Mao a Thesis Su
THE MEDIA’S INFLUENCE ON SUCCESS AND FAILURE OF DIALECTS: THE CASE OF CANTONESE AND SHAAN’XI DIALECTS Yuhan Mao A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Language and Communication) School of Language and Communication National Institute of Development Administration 2013 ABSTRACT Title of Thesis The Media’s Influence on Success and Failure of Dialects: The Case of Cantonese and Shaan’xi Dialects Author Miss Yuhan Mao Degree Master of Arts in Language and Communication Year 2013 In this thesis the researcher addresses an important set of issues - how language maintenance (LM) between dominant and vernacular varieties of speech (also known as dialects) - are conditioned by increasingly globalized mass media industries. In particular, how the television and film industries (as an outgrowth of the mass media) related to social dialectology help maintain and promote one regional variety of speech over others is examined. These issues and data addressed in the current study have the potential to make a contribution to the current understanding of social dialectology literature - a sub-branch of sociolinguistics - particularly with respect to LM literature. The researcher adopts a multi-method approach (literature review, interviews and observations) to collect and analyze data. The researcher found support to confirm two positive correlations: the correlative relationship between the number of productions of dialectal television series (and films) and the distribution of the dialect in question, as well as the number of dialectal speakers and the maintenance of the dialect under investigation. ACKNOWLEDGMENTS The author would like to express sincere thanks to my advisors and all the people who gave me invaluable suggestions and help. -
Taiwanese Tone Sandhi Viewed from an Intensity Perspective
TAIWANESE TONE SANDHI VIEWED FROM AN INTENSITY PERSPECTIVE Fran H-L Jian Dept. Linguistic Science, University of Reading, U.K ABSTRACT contour slopes of the words that undergo sandhi-tone changes Tone sandhi is a phenomenon that occurs in tone languages such as Taiwanese, Mandarin and Cantonese. It is a set of rules that are compared. defines how words placed at specific positions in sentences carry particular linguistic tones or fundamental frequency contours. Most investigations into Taiwanese are of an Morpheme in isolation impressionistic nature and the few acoustic studies are limited to the study of fundamental frequency. In this work we study the effect of tone sandhi on the intensity contour in Taiwanese speech materials. The results show that short tone words subject to tone sandhi are not only significantly modified in the 1st word in phrase 2nd word undergoes tone sandhi fundamental frequency domain but changes in the intensity Unchanged contour can be measured. Change in fundamental frequency contour 1. INTRODUCTION and intensity contour Tone sandhi is a phenomenon that occurs in tone languages such Figure 1. Example of tone sandhi as Taiwanese, Mandarin and Cantonese. It is a set of rules that defines how words placed at specific positions in sentences The preliminary results show that in addition to noticeable carry particular linguistic tones or fundamental frequency changes in the fundamental frequency domain there are contours. In a tone language the fundamental frequency contour significant changes in intensity. However, morphemes of a word defines its lexical meaning. Unlike Mandarin, which undergoing tone-sandhi get even steeper intensity decays than has a relatively simple tone structure and has been subject to morphemes in isolation, indicating that the obstruent coda is much research, Taiwanese has a more complex and subtle tonal preserved and even reinforced. -
Writing Taiwanese: the Development of Modern Written Taiwanese
SINO-PLATONIC PAPERS Number 89 January, 1999 Writing Taiwanese: The Development of Modern Written Taiwanese by Alvin Lin Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. Sino-Platonic Papers emphasizes substance over form. -
David Li-Wei Chen Handbook of Taiwanese Romanization
DAVID LI-WEI CHEN HANDBOOK OF TAIWANESE ROMANIZATION DAVID LI-WEI CHEN CONTENTS PREFACE v HOW TO USE THIS BOOK 1 TAIWANESE PHONICS AND PEHOEJI 5 白話字(POJ) ROMANIZATION TAIWANESE TONES AND TONE SANDHI 23 SOME RULES FOR TAIWANESE ROMANIZATION 43 VERNACULAR 白 AND LITERARY 文 FORMS 53 FOR SAME CHINESE CHARACTERS CHIANG-CH旧漳州 AND CHOAN-CH旧泉州 63 DIALECTS WORDS DERIVED FROM TAIWANESE 65 AND HOKKIEN WORDS BORROWED FROM OTHER 69 LANGUAGES TAILO 台羅 ROMANIZATION 73 BODMAN ROMANIZATION 75 DAIGHI TONGIONG PINGIM 85 台語通用拼音ROMANIZATION TONGIONG TAIWANESE DICTIONARY 91 通用台語字典ROMANIZATION COMPARATIVE TABLES OF TAIWANESE 97 ROMANIZATION AND TAIWANESE PHONETIC SYMBOLS (TPS) CONTENTS • P(^i-5e-jT 白話字(POJ) 99 • Tai-uan Lo-ma-jT Phing-im Hong-an 115 台灣羅馬字拼音方案(Tailo) • Bodman Romanization 131 • Daighi Tongiong PTngim 147 台語通用拼音(DT) • Tongiong Taiwanese Dictionary 163 通用台語字典 TAIWANESE COMPUTING IN POJ AND TAILO 179 • Chinese Character Input and Keyboards 183 • TaigIME臺語輸入法設定 185 • FHL Taigi-Hakka IME 189 信聖愛台語客語輸入法3.1.0版 • 羅漢跤Lohankha台語輸入法 193 • Exercise A. Practice Typing a Self 195 Introduction in 白話字 P^h-Oe-jT Romanization. • Exercise B. Practice Typing a Self 203 Introduction in 台羅 Tai-l6 Romanization. MENGDIAN 萌典 ONLINE DICTIONARY AND 211 THESAURUS BIBLIOGRAPHY PREFACE There are those who believe that Taiwanese and related Hokkien dialects are just spoken and not written, and can only be passed down orally from one generation to the next. Historically, this was the case with most Non-Mandarin Chinese languages. Grammatical literacy in Chinese characters was primarily through Classical Chinese until the early 1900's. Romanization in Hokkien began in the early 1600's with the work of Spanish and later English missionaries with Hokkien-speaking Chinese communities in the Philippines and Malaysia. -
Janet Yong University of Malaya
Associate Professor Janet Yong University of Malaya Abstract The language diversity of Penang Hokkien – a hybrid of native Malay and Hokkien dialect loan words. Penang Hokkien is a typical dialect spoken only on the island of Penang by the Chinese who have settled there since the 16th century. Unlike the Malacca Peranakan or Baba Malay, many of the Penang Peranakan did not have mixed Malay heritage, and the Penang Peranakan community has also tended to remain more Chinese than the Baba Malay. The Baba Malay language is a Malay-based creole of mixed low Malay and Hokkien Chinese colloquialisms. Penang Hokkien, on the other hand, is Chinese-based but has absorbed Malay linguistic influences. The Penang Peranakan have developed a language that is a cross between native Malay and Hokkien dialect loan words. When the two languages merged, extensive borrowing from either languages is unavoidable. However, linguistic borrowing in Penang Hokkien is far from being always a necessity. Words and phrases are used creatively, spontaneously and habitually in a hybrid style. This paper discusses the unique phonological, morphological and lexical traits of Penang Hokkien words, phrases and expressions. Nine categories of borrowing from Malay are found: complete borrowing of a whole word, partial copying but retaining its Hokkien Chinese element, complete borrowing with syllable deletion, half a word borrowing, sound change (voice to voiceless and vice versa), either first or last consonant change, vowel change, shortening in the borrowing and switch in word order (Malay to Chinese word order).. -
Penang Hokkien Basics
Penang Hokkien Basics Lessons: www.penang-traveltips.com/penang-hokkien.htm Facebook: https://www.facebook.com/groups/learnpenanghokkien/ Email: [email protected] Introduction "Penang Hokkien Basics" provides you the foundation to speak and write Penang Hokkien, all within one. In this condensed lesson, you learn the romanization system, grammar, sentence construction, various parts of speech, basic words to make your own sentences, and basic phrases. This is sufficient for short- term visitors to Penang. If you want to progress to a more advanced level, follow the more detailed lessons at Learn Penang Hokkien on the web, where you also get to learn the history of Penang Hokkien. If you want to practise using Penang Hokkien with other learners, join the Learn Penang Hokkien Facebook Group. You can download the latest free copies of "Penang Hokkien Basics" from the Penang Travel Tips website at: http://www.penang-traveltips.com/pdf/penang-hokkien.pdf Objective The objective of Learn Penang Hokkien is to make Penang Hokkien easy for everybody to learn. Through Learn Penang Hokkien, you learn to speak, read and write the language using a simple romanized system. TJ Romanization System The TJ Romanization System is the system created for you to write Penang Hokkien using a standard keyboard, without any additional characters. Spelling Detailed lesson at: http://www.penang-traveltips.com/hokkien/spelling.htm The spelling system is based on English and Malay. The system tries to capture as close as possible the way Penang Hokkien speakers spell words, while establishing a rule over how words are expected to be spelled. -
Smedley Award Report for District 01 As of September 30, 2016
10/13/2016 Smedley Award Report For District 01 Page 1 of 1 2:30 pm As of September 30, 2016 CUS8123 Club Division/Area Club Name New Member Total Award 00000021 B 05 Santa Monica Club 21 5 YES 00000280 D 01 South Bay Toastmasters Club 7 YES 00000638 A 06 Westside Toastmasters 5 YES 00001032 B 01 Toastmasters 90210 Club 6 YES 00002681 B 03 Century City Toastmasters Club 5 YES 00004131 E 05 Long Beach Live Wires Club 5 YES 00005983 A 04 Sand & Sea Speakers Club 5 YES 00007800 F 06 Funny Bones Toastmasters 8 YES 00787672 E 06 Cerritos Cheerful Chatters 5 YES 04373395 F 04 Trojan Speech 6 YES 05540349 E 05 Laserfiche Toastmasters 7 YES 05595673 C 03 Digital Toasters 7 YES 10/13/2016 Smedley Award Report For District 02 Page 1 of 1 2:30 pm As of September 30, 2016 CUS8123 Club Division/Area Club Name New Member Total Award 00000822 E 53 Kirkland Eclectics Toastmasters Club 6 YES 00004470 A 11 Bellingham Evening Toastmasters Club 5 YES 00007137 E 56 A Touch of Class Toastmasters Club 6 YES 00710634 G 71 Cosmos Toastmasters Club 6 YES 00714760 F 62 Eastgate Expounders Club 5 YES 00849176 E 52 Microsoft Early Birds Club 5 YES 00935462 G 74 Amazon Toastmasters Club 6 YES 01231280 F 61 Issaquah Highlands Toastmasters Club 6 YES 02967790 F 65 Downtown Bellevue Toastmasters 9 YES 03119281 A 15 Confidence Builders 5 YES 05316072 E 52 Tachi Toasters 6 YES 10/13/2016 Smedley Award Report For District 03 Page 1 of 1 2:30 pm As of September 30, 2016 CUS8123 Club Division/Area Club Name New Member Total Award 00000499 S 04 Gilbert Toastmasters Club 7