Voices from Early China
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Friends, Enemies, and Fools: a Collection of Uyghur Proverbs by Michael Fiddler, Zhejiang Normal University
GIALens 2017 Volume 11, No. 3 Friends, enemies, and fools: A collection of Uyghur proverbs by Michael Fiddler, Zhejiang Normal University Erning körki saqal, sözning körki maqal. A beard is the beauty of a man; proverbs are the beauty of speech. Abstract: This article presents two groups of Uyghur proverbs on the topics of friendship and wisdom, to my knowledge only the second set of Uyghur proverbs published with English translation (after Mahmut & Smith-Finley 2016). It begins with a brief introduction of Uyghur language and culture, then a description of Uyghur proverb styles, then the two sets of proverbs, and finally a few concluding comments. Key words: Proverb, Uyghur, folly, wisdom, friend, enemy 1. Introduction Uyghur is spoken by about 10 million people, mostly in northwest China’s Xinjiang Uyghur Autonomous Region. It is a Turkic language, most closely related to Uzbek and Salar, but also sharing similarity with its neighbors Kazakh and Kyrgyz. The lexicon is composed of about 50% old Turkic roots, 40% relatively old borrowings from Arabic and Persian, and 6% from Russian and 2% from Mandarin (Nadzhip 1971; since then, the Russian and Mandarin borrowings have presumably seen a slight increase due to increased language contact, especially with Mandarin). The grammar is generally head-final, with default SOV clause structure, A-N noun phrases, and postpositions. Stress is typically word-final. Its phoneme inventory includes eight vowels and 24 consonants. The phonology includes vowel harmony in both roots and suffixes, which is sensitive to rounded/unrounded (labial harmony) and front/back (palatal harmony), consonant harmony across suffixes, which is sensitive to voiced/unvoiced and front/back distinctions; and frequent devoicing of high vowels (see Comrie 1997 and Hahn 1991 for details). -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Poetry Vocabulary
Poetry Vocabulary Alliteration: Definition: •The repetition of consonant sounds in words that are close together. •Example: •Peter Piper picked a peck of pickled peppers. How many pickled peppers did Peter Piper pick? Assonance: Definition: •The repetition of vowel sounds in words that are close together. •Example: •And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride. -Edgar Allen Poe, from “Annabel Lee” Ballad: Definition: •A song or songlike poem that tells a story. •Examples: •“The Dying Cowboy” • “The Cremation of Sam McGee” Cinquain: Definition: • A five-line poem in which each line follows a rule. 1. A word for the subject of the poem. 2. Two words that describe it. 3. Three words that show action. 4. Four words that show feeling. 5. The subject word again-or another word for it. End rhyme: Definition: • Rhymes at the ends of lines. • Example: – “I have to speak-I must-I should -I ought… I’d tell you how I love you if I thought The world would end tomorrow afternoon. But short of that…well, it might be too soon.” The end rhymes are ought, thought and afternoon, soon. Epic: Definition: • A long narrative poem that is written in heightened language and tells stories of the deeds of a heroic character who embodies that values of a society. • Example: – “Casey at the Bat” – “Beowulf” Figurative language: Definition: • An expressive use of language. • Example: – Simile – Metaphor Form: Definition: • The structure and organization of a poem. Free verse: Definition: • Poetry without a regular meter or rhyme scheme. -
Poetry Explications A-State Online Writing Center
Poetry Explications A-State Online Writing Center What are poetry explications? A poetry explication is an analytical essay that comments on a poem’s elements and possible meanings. In other words, writers make connections between the narrative of the poem and the literary choices the poet uses to convey that narrative such as imagery, tone, rhythm and meter, and word choice. Reading & identifying analysis points Before writing your essay, it’s best to take the time to read the poem to yourself at least twice to gain an understanding of the plot, structure, narrator’s point of view (POV), and main ideas. Remember that you need to separate the narrator of the poem from the poet, particularly if you know the poet’s identity. Do not conflate the poet’s POV and personal life with the narrator’s life. When you begin looking for major ideas and connections between poem elements, consider these questions: ● What are the major themes? ● How is the poem structured and broken up into lines and stanzas? ● Who does the narrator or speaker seem to be addressing? ● What are the major conflicts and plot points? ● What is the overall tone? Are there shifts in tone? ● Is there a location described? ● Are there patterns you can note throughout the poem? Are there patterns in word choice, imagery, structure, syntax, rhyme, rhythm, and other elements? Determining these answers are helpful when writing your analysis. General outline Briefly summarize the poem’s narrative in the introduction of your essay for context. Then develop a clear thesis statement that addresses your major analysis points. -
Beyond Science and Civilization: a Post-Needham Critique1
EASTM 16 (1999): 88-114 Beyond Science and Civilization: A Post-Needham Critique1 Roger Hart [Roger Hart is a Mellow Postdoctoral Fellow in the Program in the History of Science at Stanford University. He has a B.S. (MIT) and M.S. (Stanford) in mathematics, and received his Ph.D. in history from UCLA in 1997. He is com pleting revisions of his dissertation "Proof, Propaganda, and Patronage: A Cultural History of the Dissemination of Western Studies in Seventeenth-Century China" for publication; he is also working on an edited volume Cultural Studies of Chinese Science, Technology, and Medicine. He has spent a total of six years teaching, studying, and researching in China.] * * * The contention that science is uniquely Western has never been presented as a thesis to be demonstrated historically-that is, stated explicitly, formulated rigor ously, evaluated critically, and documented comprehensively. Instead, throughout much of the twentieth century, variants on this theme frequently appeared in panegyrics for Western civilization ("Science ... is the glory of Western culture" [Kyburg 1990: 3]), in the forgings of exalted origins for the West in Greek antiq uity ("science originated only once in history, in Greece" [Wolpert 1992: 35]), and in accounts that confidently offered purported explanations for the absence of science in other civilizations-accounts thus unencumbered by any require- I This article developed from the concluding chapter of my dissertation which pres ents a study of Chinese mathematics during the Ming dynasty and a microhistorical analy sis of the introduction of Euclid's Elements into China. This article presents a critique of the science and civilizations approach within which much of the received historiography on this episode has been framed. -
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Advances in Social Science, Education and Humanities Research (ASSEHR), volume 279 Third International Conference of Arts, Language and Culture (ICALC 2018) Uncovering the translator’s techniques in retaining the beauty of poetic children’s stories Nur Saptaningsih1, Ardianna Nuraeni 2 1 English Department, Universitas Sebelas Maret, Surakarta, Indonesia 2 English Department, Universitas Sebelas Maret, Surakarta, Indonesia 1 [email protected], 2* [email protected] Abstract: Studies on translation of children’s literature have been widely explored by researchers with a number of focus on translation readability, proper names, titles, and culture-specific terms. One area that is still rare to study is the presence of bilingual children’s books that are presented poetically, where the author writes the stories using poetic devices (such as presenting them in stanzas and rhyming expressions) and where the translator produces the translated stories with the same poetic sense. This study focuses our special attention to the issue of the translation of poetic illustrated stories for children, which aims to describe ways the translator of book series “Archipelago Legend” renders the poetic markers in his translation, particularly to keep maintaining the message of the Source Text (ST) in the Target Text (TT) and the beauty of the stanzas. Under the design of descriptive qualitative research, we analyzed seven bilingual books of Indonesia’s “Archipelago Legend”. Stanzas in the stories and their translations were selected and categorized into types of poetic devices used by the writer and the translator. The source language construction and their translations, as well as the poetic devices in both ST and TT were analyzed with the aim at exploring the translator’s techniques in maintaining the beauty of the poetic stories in rendering the message of ST. -
Rhyme in European Verse: a Case for Quantitative Historical Poetics
1 Rhyme in European Verse: A Case for Quantitative Historical Poetics Boris Maslov & Tatiana Nikitina Keywords rhyme, statistical methods, meter, Historical Poetics, Russian verse The past decade has witnessed an unprecedented rise of interest in objectivist, data-driven approaches to literary history, often grouped together under the heading of digital humanities. The rapid multiplication of software designed to map and chart literature, often on a massive scale, has engendered an anxious (and often unpublicized) reaction. A concern for the future of literary studies, traditionally committed to the study of individual texts accessed through “close reading” of individual passages, is exacerbated in the wake of the emergence of a version of “world literature” that normalizes the study of literary works in translation, effectively jettisoning the philological techniques of explication du texte. This article seeks to bypass these antagonisms by proposing an alternative approach to literary history which, while being rooted in data analysis and employing quantitative methods some of which have been part of a century-old scholarly tradition, retains a twofold focus on the workings of poetic form and on the interaction between national literary traditions—the two topics that have dominated theoretical poetics and comparative literature ever since the inception of these disciplines in the late nineteenth-early twentieth centuries. While close reading is admittedly of limited value in the study of 2 versification, a more rigorous type of statistical testing used in this study allows for reliable assessment of tendencies observed in relatively small corpora, while also making it possible to verify the significance of highly nuanced quantitative differences. -
Beyond the Big Bang • the Amazon's Lost Civilizations • the Truth
SFI Bulletin winter 2006, vol. 21 #1 Beyond the Big Bang • The Amazon’s Lost Civilizations • The Truth Behind Lying The Bulletin of the Santa Fe Institute is published by SFI to keep its friends and supporters informed about its work. The Santa Fe Institute is a private, independent, multidiscipli- nary research and education center founded in 1984. Since its founding, SFI has devoted itself to creating a new kind of sci- entific research community, pursuing emerging synthesis in science. Operating as a visiting institution, SFI seeks to cat- alyze new collaborative, multidisciplinary research; to break down the barriers between the traditional disciplines; to spread its ideas and methodologies to other institutions; and to encourage the practical application of its results. Published by the Santa Fe Institute 1399 Hyde Park Road Santa Fe, New Mexico 87501, USA phone (505) 984-8800 fax (505) 982-0565 home page: http://www.santafe.edu Note: The SFI Bulletin may be read at the website: www.santafe.edu/sfi/publications/Bulletin/. If you would prefer to read the Bulletin on your computer rather than receive a printed version, contact Patrisia Brunello at 505/984-8800, Ext. 2700 or [email protected]. EDITORIAL STAFF: Ginger Richardson Lesley S. King Andi Sutherland CONTRIBUTORS: Brooke Harrington Janet Yagoda Shagam Julian Smith Janet Stites James Trefil DESIGN & PRODUCTION: Paula Eastwood PHOTO: ROBERT BUELTEMAN ©2004 BUELTEMAN PHOTO: ROBERT SFI Bulletin Winter 2006 TOCtable of contents 3 A Deceptively Simple Formula 2 How Life Began 3 From -
Who Heard the Rhymes, and How: Shakespeare’S Dramaturgical Signals
Oral Tradition, 11/2 (1996): 190-221 Who Heard the Rhymes, and How: Shakespeare’s Dramaturgical Signals Burton Raffel The Audience “The many-headed multitude” was how, in 1601, a contemporary referred to the Shakespearian audience (Salgado 1975:22). “Amazed I stood,” wondered an anonymous versifier in 1609, “to see a crowd/ Of civil throats stretched out so lowd;/ (As at a new play) all the rooms/ Did swarm with gentles mix’d with grooms.”1 This wide-ranging appeal considerably antedated Shakespeare’s plays: though he very significantly shaped its later course, he profited from rather than created the solidly popular status of the Elizabethan and, above all, the London stage, for “London was where the players could perform in their own custom-built playhouses, week after week and year after year. In London there were regular venues, regular audiences, regular incomes.”2 The first playhouses had been built in 1576; at least two professional “playhouses were flourishing in 1577.”3 (Shakespeare was then a country lad of thirteen.) The urgency of clerical denunciations, then as now, provides particularly revealing evidence of the theater’s already well- established place in many Londoners’ hearts.4 1 Idem:29. Festivity was of course a far more important aspect of Elizabethan life. “The popular culture of Elizabethan England . is characterized first and foremost by its general commitment to a world of merriment” (Laroque 1991:33). 2 Gurr 1992:6. And, just as today, those who wielded political power took most seriously the ancillary economic benefits produced by London’s professional theaters. See Harrison 1956:112-14, for the authorities’ immensely positive reaction, when appealed to by the watermen who ferried playgoers back and forth across the Thames, and whose profitable employment was being interfered with. -
Elements of Poetry Title ➔ the Name Given to the Poem by the Author
ELA Virtual Lesson #1: Handout The video that goes along with this lesson is posted in Google Classroom. If you do not have a way to access Google Classroom, I have included all necessary guidance on this handout. If you have any questions about this lesson, please email or message me. You can also join our Google Meet from 10am - 11am. Date: Tuesday, April 7th Objective: 5-RL.9. I will explain text structures and use terminology unique to poetry. Elements of Poetry Title ➔ The name given to the poem by the author. Verse/Line ➔ a “sentence” in a poem ➔ at least one word long ➔ the title is not a verse/line Stanza ➔ A “paragraph” in a poem ➔ a group of two or more verses/lines ➔ does not include the title ➔ a poem has at least 1 stanza Rhyme Rhyme Meter Repetition Mood Theme Free Scheme Verse → Words that → The pattern of → The beat → Words or → The → The lesson → Poems that have the same rhyming lines or rhythm of phrases that general or message are written ending sounds → Named using the poem. are repeated feeling the the author without a letters of the poem gives wants to rhyme scheme alphabet the reader. teach or express Guided Practice : Rhyme Scheme A poem's pa ttern of rhyming lines is called its rhyme scheme. Rhyme schemes are named using letters of the alphabet (usually A – D). This rhyme scheme is usually followed throughout each stanza. Here is an example of a poem with its rhyme scheme listed in brackets. Let's do a couple together.. -
Nursery Rhymes and Fables
Kindergarten Core Knowledge Language Arts® • Listening & Learning™ Strand Nursery Rhymes and Fables and Rhymes Nursery Tell It Again!™ Read-Aloud Anthology Read-Aloud Again!™ It Tell Nursery Rhymes and Fables Tell It Again!™ Read-Aloud Anthology Listening & Learning™ Strand KiNdeRgaRteN Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. -
The Bible Translator, Vol
PRACTICAL PAPERS FOR Published twice yearly (January and July) THE BIBLE by the United Bible Societies TRANSLATOR Vol. 57, No. 4, October 2006 EDITOR: Stephen W. Pattemore EDITORIAL ASSISTANT: Rosario U. Yu REVIEWS EDITOR: Lénart J. deRegt EDITORIAL BOARD: Dr Eric Hermanson Former Translation Consultant, Bible Society of South Africa Prof Luke Timothy Johnson Candler School of Theology, Emory University, Atlanta, GA, USA Ms Ruth Spielmann Translation Coordinator, Canadian Bible Society Rev Dr Tim Meadowcroft National Dean of Studies, Bible College of New Zealand Prof Christo Van der Merwe Professor of Ancient Near Eastern Languages, University of Stellenbosch, Stellenbosch, South Africa PETER UNSETH ANALYZING AND USING RECEPTOR LANGUAGE PROVERB FORMS IN TRANSLATION Part 2: Application The author worked as exegete with the Majangir translation project in Ethiopia, led courses in translation for the Ethiopian Bible Society, served under SIL International, and is now on the faculty of the Graduate Institute of Applied Linguistics in Dallas, Texas. The first part of this article appeared in the April 2006 issue of The Bible Translator, vol. 57, no. 2. In the first part, the author explained how to analyze proverbs in the receptor language (RL). Application Collecting proverbs is often pleasant; analyzing them presents some challenges; but applying the results of RL techniques in translation is more difficult. Conscious use of RL proverbial patterns is greatly assisted by access to an analyzed collection of proverbs, even for native speakers of the RL. The list of RL proverb techniques would then serve as a source of ideas and suggestions on matters of form as the translators translate proverbs into that language.