The Histories of Colour in Relation to Spatial Practice: Blue

Total Page:16

File Type:pdf, Size:1020Kb

The Histories of Colour in Relation to Spatial Practice: Blue The Histories of Colour in Relation to Spatial Practice: Blue Antonia, Debbie, Georgia, Jenna, Joyce and Jordana Discovery of the Colour Blue Blue is considered to be the first synthetically produced pigment. “Egyptian Blue” was created around 2200 BC. Egyptians were the only culture that could produce blue dyes at the time. The Egyptians originally used a mixture of ground limestone with sand and copper which contained minerals azurite and malachite. This mixture was then heated.. The result of this was an opaque glass which could be crushed and then combined with other materials such as egg whites or glues and made into a paint or ceramic glaze. Blue is now produced through a chemical process to create different saturations and hues. Different shades of blue have been discovered or popular throughout history... Egyptian Blue - 2200 BC Ultramarine or “True Blue” - 6th Century Indigo - popular in 17th & 18th Century Prussian Blue - created between 1704 - 1707 International Klein Blue or IKB - created 1960 YInMn - released for commercial use 2016 Azurite Blue and Malachite Green Colour Theory of Blue The colour blue is one of the three primary colours which means that it cannot be created by the combination of other colours. All secondary colours are then derived from these three primary colours. Complementary colour: Orange Secondary colours: Green & Purple Analogous colours: Blue-Green & Blue-Violet Tints, Tones and Shades Resene uses a lot of natural names and inspirations such as ‘duck egg’ and ‘blue moon’. As a NZ brand, a lot of paints are named after place names in New Zealand. Their brand is leaning towards very natural names to attract people. In homes, blue is a popular colour for bedrooms, as blue is complementary to the sunlight, and pale tones can “open-up” the space. The colour may initially seem like a “cold” choice for a room colour, but it can actually be welcoming and soothing, in soft eggshell shades or even dark inky tones. Pros: Blue represents intelligence. Strong hues = clear thought, while lighter hues = mental focus. It improves productivity, which could be a potential colour choice for a study. Blue is often used in bathrooms, as it exudes cleanliness and hygiene. Cons: Blue can exude coldness & aloofness. It would be tricker to use blue in kitchens, as it is an unnatural colour for food, leading to our instinct to avoid blue foods (it may even be an appetite suppressant). Complementary Colours and its Relation to Architecture and Art Complementary colours appear opposite to each other on the colour wheel. They can also be obtained by combining the other two primary colours together, such as blue’s complementary colour is red + Yellow = Orange. The use of complementary colours became an important aspect in the creation of Impressionism, post-impressionism, and furthermore modern paintings. This lead to the discovery of shadows not being neutral but instead the complementary colour of the light that throws them. For example orange sunlight will throw a blue shadow. When tinting and toning a space complementary colours can be used for graying. This will create a contrast through a change in value (lightness and darkness) or intensity (brightness and dullness ). Doing this can create a more lively and pleasing atmosphere that is not overwhelming. Contrasting colours can give spaces its own personality for example blue and orange often conveys the idea of impulsivity and trust, which is why it has been adopted by banking agencies and offices. Symbolism and Culture of Blue - Aboriginal Art - Related to dreaming and spirits - Considered to be beneficial to the mind and body. Thought to slow down the metabolism and create a calming effect. - Light blue: health, healing and tranquility - Dark blue: powerful, serious and melancholic - Greece, Turkey, Iran, Afghanistan and Albania Charmaine Pwerle – Awelye – Body Paint - Believe blue wards off the Evil eye - Evil eye is a curse thought to cause misfortune or harm - North America and Europe - Blue represents trust, security and authority. Considered to be soothing and peaceful - However can also represent depression, loneliness and sadness “The blues” - Eastern Cultures - Symbolises immortality - Ukraine - Good health - Hinduism - Strongly associated with Krishna who embodies love and divine joy. - China Blue and White China - During the Tang dynasty (618-907), the colour blue became significant especially in Chinese ceramics - The specific colour of blue and porcelain (cobalt) were specially imported from Persia - Signified royalty and used on special occasions Use of Blue in: Art - Picasso entered his ‘Blue Period’ following the death of his friend. The main theme denoted in his paintings were human suffering and isolation. His main subjects were beggars, drunks and prostitutes. - Hokusai focused on composition and colour; the great wave dominates Mount Fuji despite it being Japan’s highest mountain, it The Great Wave off Kanagawa by appears insignificant. The waves represent Japan’s historical events Hokusai (1830) and Fuji is a symbol of worship and eternity in Japan. Femme aux Bras Croisés by Pablo Picasso (1902) - Hockney incorporated his observations of how light and colour change during day and night. This links to John Tyndall’s discovery of the sky being coloured blue, as sunlight reaches Earth's atmosphere it interferes with particles in the air. This resulting in the scattering of blue light in all directions, blue is scattered more than other colors as it has shorter, smaller wavelengths and so we see the sky as blue. - Van Gogh’s ‘Starry Night’ encapsulates the view from his window while he stayed at the Saint-Paul-de-Mausole asylum in France. The contrast of the blue, yellow and white is dynamic, it provides a sense of melancholy, hope and despair. A mixture of Van Gogh’s emotions, Sprungbrett Mit Schatten by David feelings and memories. Starry Night by Vincent van Gogh Hockney (1978) (1889) Use of Blue in: Film & Media In film, blue is commonly used in the sci-fi films. Using blue lighting is common in sci-fi, as it is a colour that is rare in nature, therefore, it’s unnatural and mystical. Therefore it is often used in films involving technology. Other uses of blue are present in films involving beaches, oceans and skies. This often represent tranquility, calm and peacefulness. Directors often use dark blue filters to portray nighttime, without having to compromise lighting. Films & media that often use blue: ● Tron (1982) & Tron: Legacy (2010) ● Bladerunner (1982) & Bladerunner 2049 (2017) ● The Truman Show (1998) ● Star Wars (1977-2019) ● Harry Potter (2001-2011) ● Avatar (2009) ● Stranger Things (2016-) Use of Blue in: Interior & Exterior Color is an integral element in architecture; it is not only important aesthetically, but it also has a great psycho-sensory importance. Using blue in design gives the effect of relaxation, and retiring (withdrawing). It can either make you feel calm, comfortable, noble, or it could feel depressing, cold, or melancholic. Depending on the tones, the use of blue in design can give different moods. Interior Spaces: Ceilings: celestial & receding (light), heavy & oppressive with (dark), Lower sense of space Walls: cool & distant (light), encouraging and space deepening with (dark), if only applied to a central wall of space this will give the feeling of a “spatial shortening”, otherwise applied to all walls, the perception of a space will lengthen. Floor: inspiring and illusion of effortless movement (light), heavy/weighted (dark) Exterior Spaces (Painting a Home blue): Light Blue: dreamy, relaxing, bright Medium/Bright Blue: excitement, cheerful Dark Blue: classic, traditional, confident Notable Blue Architecture Blue Dome Church, Santorini, Greece The iconic Santorini blue painted hillside homes - During the years of 1967 - 1974 the military government established a political agenda of displaying uniformity across the Oia, Santorini, Greece greek landscape by stating the rule of repainting the houses blue and white like the Greek flag. St Petersburg Mosque The interior of the mosque is made from more than 20,000 handmade İznik style ceramic tiles, made at Iznik (the ancient city of Nicaea in Greece) in more than fifty different tulip designs. In Islam, blue usually indicates femininity, life, purity, etc. Blue can also symbolize peace, calm, stability, security, loyalty, sky, water, cold, technology, and depression. Colours symbolism is one of the characteristic of Iran‘s culture, in such a way that each color has a specific spiritual meaning. St Petersburg Mosque, Russia Chefchaouen, Morocco Chefchaouen is known as “the blue pearl of Morocco.” It was founded in 1471 by the Jews and Moors fleeing Spain. There are many theories as to why the city is painted blue. One theory is that the Jews painted the city blue after fleeing from Adolf Hitler in the 1930s. Another is that the blue was to symbolise the sky and heaven, or it was to represent the deep ocean. Chefchaouen, Morocco References - Admin. (2019, May 10). PAINT COLOUR WHEEL: An Architect Explains. Retrieved March 9, 2020, from http://architectureideas.info/2010/01/paints-colour-wheel - Blue Aboriginal Art Colour Palettes. (2019, January 7). Retrieved March 3, 2020, from https://japingkaaboriginalart.com/articles/blue-aboriginal-art-colour-palettes/ - Certapro Painters (2019, July 16). The Best Blue Hues of the Exterior of Your Home. Retrieved from https://certapro.com/painting/the-best-blue-hues-for-the-exterior-of-your-home/ - Chagall, M. (n.d.). Color Wheel. Retrieved March 3, 2020, from http://www.worqx.com/color/color_wheel.htm - Femme aux Bras Croisés. (2018, November 27). Retrieved March 9, 2020, from https://en.wikipedia.org/wiki/Femme_aux_Bras_Crois%C3%A9s - Gottesman, S. (2016, November 29). A Brief History of Blue. Retrieved March 9, 2020, from https://www.artsy.net/article/artsy-editorial-a-brief-history-of-blue - Majidi, F (2015). Observation of Image and Color of Isfahan Mosques in Perspective of Islamic Art‘s Indices, 4(10), 113-121.
Recommended publications
  • The Web That Has No Weaver
    THE WEB THAT HAS NO WEAVER Understanding Chinese Medicine “The Web That Has No Weaver opens the great door of understanding to the profoundness of Chinese medicine.” —People’s Daily, Beijing, China “The Web That Has No Weaver with its manifold merits … is a successful introduction to Chinese medicine. We recommend it to our colleagues in China.” —Chinese Journal of Integrated Traditional and Chinese Medicine, Beijing, China “Ted Kaptchuk’s book [has] something for practically everyone . Kaptchuk, himself an extraordinary combination of elements, is a thinker whose writing is more accessible than that of Joseph Needham or Manfred Porkert with no less scholarship. There is more here to think about, chew over, ponder or reflect upon than you are liable to find elsewhere. This may sound like a rave review: it is.” —Journal of Traditional Acupuncture “The Web That Has No Weaver is an encyclopedia of how to tell from the Eastern perspective ‘what is wrong.’” —Larry Dossey, author of Space, Time, and Medicine “Valuable as a compendium of traditional Chinese medical doctrine.” —Joseph Needham, author of Science and Civilization in China “The only approximation for authenticity is The Barefoot Doctor’s Manual, and this will take readers much further.” —The Kirkus Reviews “Kaptchuk has become a lyricist for the art of healing. And the more he tells us about traditional Chinese medicine, the more clearly we see the link between philosophy, art, and the physician’s craft.” —Houston Chronicle “Ted Kaptchuk’s book was inspirational in the development of my acupuncture practice and gave me a deep understanding of traditional Chinese medicine.
    [Show full text]
  • The Cultural Connotations of Color Words in English and Chinese
    International Journal of Humanities and Social Science Invention (IJHSSI) ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 7 Issue 09 Ver. I ||September 2018 || PP 37-41 The Cultural Connotations of Color Words in English and Chinese XiaoLing Yang Foreign Language School Nanchang Normal University NanChang Jiangxi, China This paper is funded by 11531 project of Nanchang Normal University ABSTRACT:The world we live in is colorful, and there isseveral of color words used to describe the colorful things in the world. Color is closely related to our life, it’s an important field for us to understand the world. Color not only has physical properties, but also has rich cultural connotation. Although the quantity of the color words in different languages is not the same, the color words are almost the components of vocabularies in all the languages. English and Chinese are both abundant in basic color terms, and with the deepening of the cultural communication between China and western countries, it has been realized that basic color words are inevitable becoming a barrier in the cross-cultural communication. The corresponding color words in English and Chinese are endowed with different cultural connotations, which increase the difficulty for cross-cultural communication. This thesis mainly through the basic color words: red, yellow, green, black, white and blue to make a contrast between English and Chinese, and the thesis will exert greater efforts to explain the reasons for the differences existing in the cultural connotations of color terms in English and Chinese. KEY WORDS: basic color words; cultural connotation; cross-cultural communication ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 31-08-208 Date of acceptance:15-09-2018 ----------------------------------------------------------------------------------------------------------------------------- ---------- I.
    [Show full text]
  • Perception of Color in Product Choice Among College Students: a Cross-National Analysis of USA, India, China and Turkey
    International Journal of Business and Social Science Vol. 2 No. 21 [Special Issue – November 2011] Perception of Color in Product Choice among College Students: A Cross-National Analysis of USA, India, China and Turkey Okan Akcay, D.B.A. Muhammed H. Dalgin, Ph.D. Swati Bhatnagar, M.B.A. Kutztown University of Pennsylvania United States of America Abstract This study will examine color in product choice among college students in a cross-cultural context. Surveys were conducted for the target group in the USA, India, China and Turkey. Color plays a major role in buying decisions of consumers for different products. The authors will carry out a review of the literature and discuss cross-cultural meanings and associations of color among consumers in different nations, to find out if color is important across all product categories. The survey results were analyzed for implications for marketers and to reach conclusions for our research. JEL Classification: M31, M37, Z10, D12 Keywords: Marketing, Advertising, Cultural and Consumer Economics I. INTRODUCTION Color is a visual attribute of things resulting from the light they emit, transmit or reflect. It is a highly important product attribute because color is what differentiates similar kinds of products. Color acts as the visual stimulus, attracting people to touch and feel the product and to some extent even buy it. Color is an integral element of corporate marketing communications strategy. It is an important tool for shaping customers feelings and responses (Clarke & Honeycutt, 2000). It induces moods and emotions, influences consumer perceptions and behaviors and helps companies position or differentiate themselves from the competition (Grossman and Wisenblit 1999; Aslam, 2006).
    [Show full text]
  • 2Bbb2c8a13987b0491d70b96f7
    An Atlas of Rare & Familiar Colour THE HARVARD ART MUSEUMS’ FORBES PIGMENT COLLECTION Yoko Ono “If people want to make war they should make a colour war, and paint each others’ cities up in the night in pinks and greens.” Foreword p.6 Introduction p.12 Red p.28 Orange p.54 Yellow p.70 Green p.86 Blue p.108 Purple p.132 Brown p.150 Black p.162 White p.178 Metallic p.190 Appendix p.204 8 AN ATLAS OF RARE & FAMILIAR COLOUR FOREWORD 9 You can see Harvard University’s Forbes Pigment Collection from far below. It shimmers like an art display in its own right, facing in towards Foreword the glass central courtyard in Renzo Piano’s wonderful 2014 extension to the Harvard Art Museums. The collection seems, somehow, suspended within the sky. From the public galleries it is tantalising, almost intoxicating, to see the glass-fronted cases full of their bright bottles up there in the administra- tive area of the museum. The shelves are arranged mostly by hue; the blues are graded in ombre effect from deepest midnight to the fading in- digo of favourite jeans, with startling, pleasing juxtapositions of turquoise (flasks of lightest green malachite; summer sky-coloured copper carbon- ate and swimming pool verdigris) next to navy, next to something that was once blue and is now simply, chalk. A few feet along, the bright alizarin crimsons slake to brownish brazil wood upon one side, and blush to madder pink the other. This curious chromatic ordering makes the whole collection look like an installation exploring the very nature of painting.
    [Show full text]
  • A Study on Color Words Between Chinese and English from the Perspective of Cross Culture
    International Journal of Liberal Arts and Social Science Vol. 6 No. 1 January 2018 A Study on Color Words between Chinese and English from the Perspective of Cross Culture Yunzhe Yang China West Normal University, China E-mail: [email protected] Abstract Color words are expressive language with profound culture meanings. Although the understanding and feelings to color words between Chinese and English people are much alike, the symbols and implied meanings of color words to the different nations are different because of their different customs, ways of thinking and religious beliefs. Therefore, it is of practical significance to know the differences between English and Chinese color words and their extended meanings for developing translation practice and promoting Chinese and English cultural communication. Key words: color words, cultural differences, translation, intercultural communication. Introduction In Chinese and English languages, the words and phrases of different colors are very abundant. Colors may convey different messages to people of different cultures. Due to the respective cultural background and tradition, some phrases containing color words have far surpassed their original meanings. Besides, the various connotations of colors possess an important position in the intercultural communication in the modern world. The connotation of the colors is not only an important tool forinter cultural communication, but also an important cultural and prominent component of the relationship between the cultural content, cultural form, between the interdependence and interaction. This thesis provides a large number of examples to illustrate the cultural connotations of the basic color words: red, white and black. It can help the readers know their cultural connotations clearly in English and Chinese, and appreciate the psychological differences so as to reduce the difficulties in intercultural communication.
    [Show full text]
  • College of Science Annual Report 2017–2019 (Pdf)
    College of Science 2017–2019 Stepping up to the world’s greatest challenges. College of Science highlights for the fiscal years beginning July 1, 2017 and ending June 30, 2019. Oregon State is a profoundly public-spirited university characterized by world-class researchers and collaborative community-builders intent on serving people across the state, the nation and the world. This powerful drive reflects our institution’s status not only as a Land-Grant university, but also a Space-Grant, Sun-Grant and Sea-Grant university. These designations signal Oregon State’s ability to receive federal funding for research projects that benefit the larger community. Science plays a key role in that quest. The College of Science is deeply engaged in solving many of the most pressing challenges we face as a society. Together we ignite a passion for science in all learners and move discoveries from the lab to people’s lives. The university’s broad research, scholarship, teaching, service and discovery enterprise encompasses all areas of science. From ploughs to touch screens Science has played a founding role in carrying out Oregon State’s Land Grant mission from its origins in the Morrill Act of 1862. The College’s pioneering programs and research in biohealth, the life sciences, marine and environmental sciences, and statistics help us adapt to changing social and economic needs. Through evidence-based programs, science provides both a body of evidence and a mode of inquiry that leads to world-changing discoveries. Local, state and global industries have profited from sustainable materials that began as lab experiments in Gilbert Hall, from more efficient batteries and greener touch screens, to a new heat-resistant paint using a historic new blue pigment discovered here.
    [Show full text]
  • Copyrighted Material
    Index A university district, student perception, 28 Aeppel, Timothy, 128 Beijing Foreign Studies University, Alcohol-based fragrance formulas, Xu interview, 21 experimentation, 112 Beijing University, ideas/progress, Alibaba, founding, 62 28–29 Allbirds, design leadership Biden, Joe, 131–132 (usage), 146–147 Bleeding (wax), 67 Alzheimer’s disease (AD), treatment Bloomingdale’s, 109 (objective), 12, 116–118 cross-merchandising, impact, 69 Ambers, compounding, 101 deal, 68–69 Ambiente trade show, 48, 59, 95, 96 orders, problems, 89 candles, (reevaluation), 49–50 pitch, 75 America Dream, 42, 54, 142 Xu visit, 42–43 Americans with Disabilities Act Body language, reading, 46–47 (ADA), 128 Boston Consulting Group, 131 Antidumping tariffs, impact, 120 Box stores, vendor entry Anti-merchant prejudices, 62–64 (difficulty), 70 Aphrodite, fragrant offering, 102 Brand Aroma Bay Candle (Vietnam identity, change, 59–60 factory), 121 sensory branding, 106 Aromatherapy, powers, 115, 139 transformation, 110 B COPYRIGHTEDvisual MATERIAL brand, generation, 141 Briefcase guy, 44 Bed Bath & Beyond Buildings deal, 70–73, 77, 121, 123 building-based fragrance stories, orders, problems, 89 awareness, 106 pitch, 75 fragrance stories, 105 replenishment vendor status, 72 Burn Beeswax, usage, 133–134 behavior, 66 Beijing non-draft burn tests, performing, 66 college, Xu arrival, 22 times, inconsistency, 67 Xu695929_bindex.indd 157 02-02-2021 17:02:27 158 Index C product design, improvement, 48–49 Calligraphy styles, 60 quality, ensuring, 64–65, 90, 123 “Candle Maker
    [Show full text]
  • Your Paper's Title Starts Here
    2019 International Conference on Education, Management, Economics and Humanities (ICEMEH 2019) ISBN: 978-1-60595-616-9 Rip Van Winkle, an Allegory about Modern Man’s Self-identity Crisis Nan-nan LI* and Li-mei LI Guangzhou College of Commerce, No. 209 Jiulong Avenue, Huangpu District, Guangzhou, Guangdong Province, China *Corresponding author Keywords: Rip Van Winkle, Symbols, Self-identity Crisis, Symbolic implication. Abstract. This paper is to analyze how Washington Irving creates an allegory with the help of rhetorical devices to add profound symbolic meanings to a superficially simple story. The main focus of the paper is placed upon the writer’s skillful use of various different symbols to demonstrate the significant and intricate theme: self-identification crisis the modern man has to face. Introduction Washington Irving enjoys many honors of being the great first in American literature history, such as the first successful short story writer, the first distinguished American man of letters. A careful reading of The Rip Van Winkle will make people believe that Washington Irving is also the first to use allegory to deal with the topic of the self-identity. This paper is to discuss and analyze how Washington Irving successfully creates an allegory which describes a human being’s anxieties and ambivalence on his journey to look for his self and self-identity. As a typical allegory Rip Van Winkle works through the means of employment of lots of rhetorical devices, such as exaggeration, simile, metaphor, contrast, supernatural event, etc., to add the rich and diverse symbolic meanings to a superficially simple story. What impresses me most about this allegory is the writer’s skillful use of various symbols to reveal and emphasize the significant and intricate theme: the conflict between the dream and the reality, a problem of self-identification crisis the modern man has to face.
    [Show full text]
  • Appendix 1 Chinese Symbols and Their Auspicious Themes
    Appendix 1 Chinese symbols and their auspicious themes This appendix contains a selection of common and important themes, images, and symbols that Chinese people use in their art forms, decorations, and reli- gions to provide a sense of auspiciousness in their lives (including brief entries on symbols discussed in the text). Religious and auspicious imagery is surpris- ingly widespread: from fancy surroundings in museums and the opera, to more popular spaces and stores; from television shows to martial arts movies; from reli- gious sites to calendars, posters, and pictures hung up at home or in restaurants. When paying attention to these symbols, I found an amazing variety of presen- tations of them in art, ceramics, paintings, clothing, wood carvings, sculptures, paper cuttings, plastic, and fabric. Nearly everywhere across China, one can see imagery and symbols that have well-known cultural and religious meanings. As Gong writes, “The Chinese believe they invite good fortune into their lives by surrounding themselves with auspicious symbols and phrases [. .,] images and motifs [, which] perpetually convey wishes for fortune, prosperity, longevity, hap- piness, and health” (2005, 183). In fact, auspicious symbols seem to act as a type of language of which everyone is aware, but which remains unstated because it is woven deeply into Chinese culture.1 Although many symbols and their interpretations have Daoist, Buddhist, and/ or folk religious origins and influences, these ‘religious’ symbols are not necessar- ily used in religious contexts. For example, small good luck charms can be hung anywhere and clothing can be worn anywhere. As these items, and others, gain popularity outside of a particular religion, the auspicious symbols on them then become a piece of the larger culture.
    [Show full text]
  • From Tradigital to Shinkyuu Art: a Fusion of Analogue and Computer- Generated Art Summoned Through the Colour Blue
    From Tradigital to Shinkyuu Art: A fusion of analogue and computer- generated art summoned through the colour blue By Thi Ngoc-Anh (Annie) Nguyen Thesis Submitted to Flinders University for the degree of Doctor of Philosophy College of Education, Psychology and Social Work May 2021 Table of Contents TABLE OF CONTENTS ......................................................................................................... 2 TABLE OF FIGURES ............................................................................................................. 6 TABLE OF TABLES ............................................................................................................... 9 DECLARATION ....................................................................................................................11 ACKNOWLEDGMENTS ...................................................................................................... 12 GLOSSARY .......................................................................................................................... 13 ABSTRACT .......................................................................................................................... 16 INTRODUCTION ................................................................................................................ 17 THE SHAPE OF THIS DOCTORATE .................................................................................................. 17 SHINKYUU – A DEFINITION ..........................................................................................................
    [Show full text]
  • CHINESE to ENGLISH TRANSLATION: IDENTIFYING PROBLEMS and PROVIDING SOLUTIONS Shihua Brazill Montana Tech of the University of Montana
    Montana Tech Library Digital Commons @ Montana Tech Graduate Theses & Non-Theses Student Scholarship Spring 2016 CHINESE TO ENGLISH TRANSLATION: IDENTIFYING PROBLEMS AND PROVIDING SOLUTIONS Shihua Brazill Montana Tech of the University of Montana Follow this and additional works at: http://digitalcommons.mtech.edu/grad_rsch Part of the Communication Technology and New Media Commons, and the International and Intercultural Communication Commons Recommended Citation Brazill, Shihua, "CHINESE TO ENGLISH TRANSLATION: IDENTIFYING PROBLEMS AND PROVIDING SOLUTIONS" (2016). Graduate Theses & Non-Theses. 71. http://digitalcommons.mtech.edu/grad_rsch/71 This Thesis is brought to you for free and open access by the Student Scholarship at Digital Commons @ Montana Tech. It has been accepted for inclusion in Graduate Theses & Non-Theses by an authorized administrator of Digital Commons @ Montana Tech. For more information, please contact [email protected]. CHINESE TO ENGLISH TRANSLATION: IDENTIFYING PROBLEMS AND PROVIDING SOLUTIONS by Shihua Chen Brazill A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Technical Communication Montana Tech 2016 ii Abstract The purpose of this study was to identify problems and provide solutions for improving Chinese to English translation quality, including ways to avoid Chinglish. Both qualitative and quantitative research methods were used, including interviews of 20 faculty members and a survey of over 300 students at 7 universities in China. The study researched four problem areas: Chinglish, cultural awareness, machine translation (MT), and translation profession. The results indicated that causes for Chinglish stem from different levels including vocabulary, syntax, and cultural levels. Cultural awareness was found to be a key factor for improving translation quality, especially when it comes to idiomatic translations.
    [Show full text]
  • Catalog Fall 2021.Docx
    THE ACADEMY OF LIFELONG LEARNING FALL 2021 CATALOG Table of Contents Art History & Architecture 2 Art Here, Art There Series *New* 9 Film Studies 10 Global Affairs 12 History and Culture 12 Languages 15 Arabic 15 Chinese (Mandarin) 15 French 15 Modern Greek 17 Italian 18 Japanese 18 Norwegian 19 Persian (Farsi) 20 Spanish 21 Swedish 22 Literature 24 Music Appreciation 28 Racial Literacy and Anti-Racism Practices Series 29 Teaching English to Speakers of Other Languages (TESOL) 31 Theater Appreciation 32 Writing 32 THE ACADEMY OF LIFELONG LEARNING FALL 2021 CATALOG Art History & Architecture *NEW* Dishing More Dirt on Artists ARTS1-CE9105/$529 Sec. 1: Tues. 1-2.40 p.m., Sept. 21-Nov. 9 (8 sessions). Revisit and learn about famous artists and their masterpieces through engaging and sometimes scandalous stories. Building on the popular course “Dishing the Dirt on Artists,” this illustrated online art history course focuses on the gossip (based on facts) and anecdotes relating to mostly 19th and 20th century artists—famous and infamous—including sexuality, suicides, wars, weird hobbies, rivalries, pitfalls, and commissions. You will learn about Gilbert Stuart’s sexual prowess, the truth about van Gogh’s ear, the Impressionists’ battles with French society, feuds between Matisse and Picasso, Duchamp’s playfulness, Pollock’s drinking episodes, and their ability to create masterpieces through it all. Instructor: Gayle Skluzacek, president, Abigail Hartmann Associates, certified USPAP instructor. *NEW* Islamic Jewelry Designs: From Cordoba to Cartier ARTS1-CE9078/$159 Sec. 1: Wed. 2-4.05 p.m., Dec. 1-8 (2 sessions). To begin, we will look closely at the history of jewelry in the Islamic world, from the 7th to the 19th century, and examine how jewels and gemstones serve as talismans, symbols of power, as well as adornment.
    [Show full text]