The Totality of Chinese Characters – a Digital Perspective
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European Proceedings of Social and Behavioural Sciences EpSBS www.europeanproceedings.com e-ISSN: 2357-1330 DOI: 10.15405/epsbs.2020.11.03.23 DCCD 2020 Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding INFORMATION TECHNOLOGY IN TEACHING CHINESE: ANALYSIS AND CLASSIFICATION OF DIGITAL EDUCATIONAL RESOURCES Tatiana L. Guruleva (a)* *Corresponding author (a) Moscow City University, 5B Malyj Kazennyj pereulok, Moscow, Russia; Institute of Far Eastern Studies of Russian Academy of Sciences, 32 Nakhimovskii prospect, 117997, Moscow, Russia, [email protected] Abstract The intercultural approach to teaching Chinese as a foreign language in Russia was first implemented by us in a model for co-learning languages and cultures. This model was developed in 2009-2011, it took into account the specifics of teaching the Chinese language, which is studied simultaneously with the English language. The model was tested in the international multicultural educational region of Siberia and the Far East of Russia and northeastern part of China. However, the intercultural approach has wide potential for implementation not only in conditions of direct contact with representatives of another culture. In the modern world, information technologies for teaching foreign languages are increasingly in demand. For a number of objective reasons, large technology companies until the beginning of the 21st century could not begin to develop information technologies that support the Chinese language. Therefore, the history of the creation and use of information technologies for teaching the Chinese language is happening right now before our eyes. In this regard, the analysis and classification of information resources for teaching the Chinese language is relevant and in demand. -
ISO/IEC JTC1/SC2/WG2 N3196R2 1. Summary
ISO/IEC JTC1/SC2/WG2 N3196R2 Page 1 of 10 ISO/IEC JTC1/SC2/WG2 N3196R2 Title Proposal to Disunify U+4039 Source Andrew West and John Jenkins Document Type Expert Contribution Date 2007-05-01 1. Summary 䀹 目 夾 The character U+4039 is a unification of two different glyphs, one written as (i.e. mù radical and ji 䀹 目 㚒 phonetic) and one written as (i.e. mù radical and sh n phonetic). It is the former of these two glyph forms that is used to represent this character in the Unicode code charts and in most CJK fonts. The glyph form of U+4039 in various sources are shown below : ISO/IEC 10646:2003 page 307 Super CJK Version 14.0 page 1049 The Unicode Standard 5.0 code charts page 301 JIS X 0213:2000 Plane 2 Row 82 Col.2 (J4-7222) ISO/IEC JTC1/SC2/WG2 N3196R2 Page 2 of 10 Ѝ There is also a simplified form of the ji phonetic glyp䀹h (U+25174 ), aᴔs well as two compatability ideographs that are canonically equivalent to U+4039 : U+FAD4 and U+2F949 . The situation is summarised in the table below : Source References Code Point Character (from ISO/IEC 10646:2003 Amd.1) G3-5952 T4-3946 4039 䀹 J4-7222 H-98E6 KP1-5E34 FAD4 䀹 KP1-5E2B 25174 Ѝ G_HZ 2F949 ᴔ T6-4B7A 䀹 䀹 We believe that the two glyph forms of U+4039 ( and ) are non-cognate, and so, according to the rules for CJK unification (see ISO/IEC 10646:2003 Annex S, S.1.1), should not have been unified. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
THE STRUCTURE of the NAXI PICTOGRAPHIC SCRIPT’ CHAPTER 3 in a DICTIONARY of NAXI PICTOGRAPHS by FANG GUOYU1 Jacob Cawthorne University of Melbourne
Linguistics of the Tibeto-Burman Area Volume 33.1 — April 2010 TRANSLATION OF ‘THE STRUCTURE OF THE NAXI PICTOGRAPHIC SCRIPT’ CHAPTER 3 IN A DICTIONARY OF NAXI PICTOGRAPHS BY FANG GUOYU1 Jacob Cawthorne University of Melbourne Abstract: The aim of this translation is to make accessible in English one of the most important chapters of the influential work A Dictionary of Naxi Pictographs, by Fang Guoyu, to a wider audience.2 Through his work, Fang became a chief protagonist in bringing the attention and interest of the Chinese government and intelligentsia upon the Naxi people, the Dongba religion and the script during the mid to late 20th century. Although more contemporary research has superseded Fang’s efforts, his work is still widely used by both Chinese and Western academics as the basis for their research on the script. The core purpose of this chapter is to analyse the structure of the Naxi pictographic script. Fang achieves this by classifying the pictographs into ten categories in accordance with theoretical principles adapted from the liu shu (六书), or six categories of Chinese characters. A discussion of the key features of each category is made and accompanied by examples to further illustrate the distinctive features of each category. A summation on the relevance of the script to the study of writing systems in general is completed at the end of the chapter. In addition, Fang also analyses the Naxi phonographic script as a script in its own right, and its relationship with the Naxi pictographic script. Keywords: Naxi, pictographs, Dongba, Geba, Tibeto-Burman language, writing system. -
Generic Subject Guide
DiMenna-Nyselius Library Chinese Language & Literature • Campus Resources • Directories and Organizations • Dictionaries and Encyclopedias • Almanacs, Handbooks, and • Library Catalog Statistics • Article Indexes and Databases • Primary Documents and Images • Electronic Texts and Journals • Internet Resources • Bibliographies and Reviews • Course Homepage and Course • Biographical and Geographical Reserves Resources • Tips on Using Your Information Campus Resources Fairfield University Language Resource Center (LARC) http://www.faculty.fairfield.edu/jgoldfield/LARC030506.htm Dictionaries & Encyclopedias Chinese-English Dictionary of Modern Usage http://www.arts.cuhk.edu.hk/Lexis/Lindict/ Chinese Characters Dictionary Web http://zhongwen.com/zi.htm Online Chinese Dictionaries http://www.chinalanguage.com/Language/Dictionaries/ ABC Chinese-English comprehensive dictionary: alphabetically based computerized Ref. PL1455.A33 2003 A Dictionary of Chinese mythology Ref. BL1801.W35 1961 Dictionary of 1000 Chinese idioms Ref. PL1273.D53 2000 Mathews’ Chinese-English dictionary Ref. PL1455.M42 1969 A New English-Chinese dictionary Ref. PL1455.N49 1984 Oxford Chinese dictionary: English-Chinese, Chinese-English Ref. PL1455.O94 2003 with an accompanying CD-ROM at the Media Desk, Main Level The Pinyin Chinese-English dictionary Ref. PL1455.P55 1979 The Cambridge encyclopedia of China Ref. DS705.C35 1991 Encyclopedia of China: the essential reference to China, its history and culture Ref. DS705.P47 1999 Modern China: an encyclopedia of history, culture, -
Singapore Mandarin Chinese : Its Variations and Studies
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Singapore Mandarin Chinese : its variations and studies Lin, Jingxia; Khoo, Yong Kang 2018 Lin, J., & Khoo, Y. K. (2018). Singapore Mandarin Chinese : its variations and studies. Chinese Language and Discourse, 9(2), 109‑135. doi:10.1075/cld.18007.lin https://hdl.handle.net/10356/136920 https://doi.org/10.1075/cld.18007.lin © 2018 John Benjamins Publishing Company. All rights reserved. This paper was published in Chinese Language and Discourse and is made available with permission of John Benjamins Publishing Company. Downloaded on 26 Sep 2021 00:28:12 SGT To appear in Chinese Language and Discourse (2018) Singapore Mandarin Chinese: Its Variations and Studies* Jingxia Lin and Yong Kang Khoo Nanyang Technological University Abstract Given the historical and linguistic contexts of Singapore, it is both theoretically and practically significant to study Singapore Mandarin (SM), an important member of Global Chinese. This paper aims to present a relatively comprehensive linguistic picture of SM by overviewing current studies, particularly on the variations that distinguish SM from other Mandarin varieties, and to serve as a reference for future studies on SM. This paper notes that (a) current studies have often provided general descriptions of the variations, but less on individual variations that may lead to more theoretical discussions; (b) the studies on SM are primarily based on the comparison with Mainland China Mandarin; (c) language contact has been taken as the major contributor of the variation in SM, whereas other factors are often neglected; and (d) corpora with SM data are comparatively less developed and the evaluation of data has remained largely in descriptive statistics. -
Downloaded from Brill.Com10/04/2021 08:34:09AM Via Free Access Bruce Rusk: Old Scripts, New Actors 69
EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700* Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay. -
The Chinese Script T � * 'L
Norman, Jerry, Chinese, Cambridge: Cambridge University Press, 1988. 1 3.1 Th e beginnings of Chinese writing 59 3 FISH HORSE ELEPHANT cow (yu) (m ii) (xiimg) (niu) " The Chinese script t � * 'l Figure 3.1. Pictographs in early Chinese writing 3.1 The beginnings of Chinese writing1 The Chinese script appears as a fully developed writing system in the late Shang .dynasty (fourteenth to eleventh centuries BC). From this period we have copious examples of the script inscribed or written on bones and tortoise shells, for the most part in the form of short divinatory texts. From the same period there also Figure 3.2. The graph fo r quiin'dog' exist a number of inscriptions on bronze vessels of various sorts. The former type of graphic record is referred to as the oracle bone script while the latter is com of this sort of graph are shown in Figure 3.1. The more truly representational a monly known· as the bronze script. The script of this period is already a fully graph is, the more difficult and time-consuming it is to depict. There is a natural developed writing system, capable of recording the contemporary Chinese lan tendency for such graphs to become progressively simplified and stylized as a guage in a complete and unambiguous manner. The maturity of this early script writing system matures and becomes more widely used. As a result, pictographs has suggested to many scholars that it must have passed through a fairly long gradually tend to lose their obvious pictorial quality. The graph for qui'in 'dog' period of development before reaching this stage, but the few examples of writing shown in Figure 3.2 can serve as a good illustration of this sort of development. -
1 Chinese Writing: Ancient Autochthonous Perspective Fran蔞ise Bott廨o CRLAO-CNRS-EHESS Paris in Order to Compare What Could
1 Chinese writing: ancient autochthonous perspective Françoise Bottéro CRLAO-CNRS-EHESS Paris In order to compare what could also be compared between ancient writing systems and enrich our problematics, I would like to provide another possible perspective. Instead of signs structure or origins of writing, I would like to discuss some more theoretic or analytic points such as, for example, the kinds of reflections made by the ancient people on their own writing system. Indeed, It could be worth comparing how and when ancient scribes/scholars started asking questions about their writing system : How they conceived the origins of their writing system, what kind of reflections and theories they elaborated on their script, how they classified and analysed the written signs, what kind of lexical lists they provided, when did they start using a special terminology, etc. This could help us understand constraints imposed by the so called logographic writing system as opposed to phonetic writing systems, and the ways ancient scribes/lexicographs used to handle them. 1. The origins of writing in ancient China The oldest mention to the origins of writing in China goes back to the 3rd century BC. The great philosopher Xu2nzi3 荀子 (335-238) and his disciple Ha2n Fe1i 韓非 (280-233) present Ca1ng Jie2 倉頡 as someone specialised in writing and eventually as the inventor of writing. The Heroic invention of writing progressively developed, and around the 1rst century AD, Ca1ng Jie2 had become the scribe of the Mythical “Yellow Emperor” Hua2ngdi4 who drew his inspiration to invent writing from the marks left by the birds and the beasts on the soil. -
A Dictionary of Chinese Characters: Accessed by Phonetics
A dictionary of Chinese characters ‘The whole thrust of the work is that it is more helpful to learners of Chinese characters to see them in terms of sound, than in visual terms. It is a radical, provocative and constructive idea.’ Dr Valerie Pellatt, University of Newcastle. By arranging frequently used characters under the phonetic element they have in common, rather than only under their radical, the Dictionary encourages the student to link characters according to their phonetic. The system of cross refer- encing then allows the student to find easily all the characters in the Dictionary which have the same phonetic element, thus helping to fix in the memory the link between a character and its sound and meaning. More controversially, the book aims to alleviate the confusion that similar looking characters can cause by printing them alongside each other. All characters are given in both their traditional and simplified forms. Appendix A clarifies the choice of characters listed while Appendix B provides a list of the radicals with detailed comments on usage. The Dictionary has a full pinyin and radical index. This innovative resource will be an excellent study-aid for students with a basic grasp of Chinese, whether they are studying with a teacher or learning on their own. Dr Stewart Paton was Head of the Department of Languages at Heriot-Watt University, Edinburgh, from 1976 to 1981. A dictionary of Chinese characters Accessed by phonetics Stewart Paton First published 2008 by Routledge 2 Park Square, Milton Park, Abingdon, OX14 4RN Simultaneously published in the USA and Canada by Routledge 270 Madison Ave, New York, NY 10016 Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2008. -
The Phonological Domain of Tone in Chinese: Historical Perspectives
THE PHONOLOGICAL DOMAIN OF TONE IN CHINESE: HISTORICAL PERSPECTIVES by Yichun Dai B. A. Nanjing University, 1982 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGRFE OF MASTER OF ARTS In the pepartment of Linguistics @ Yichun Dai 1991 SIMON FRASER UNIVERSITY July 1991 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME: Yichun Dai DEGREE: Master of Arts (Linguistics) TITLE OF THESIS : The Phonological Domain of Tone in Chinese: Historical Perspectives EXAMINING COMMITTEE: Chairman: Dr. R. C. DeArmond ----------- Dr. T. A. Perry, Senior ~aisor Dr. N. J. Lincoln - ................................... J A. Edmondson, Professor, Department of foreign Languages and Linguistics, University of Texas at Arlington, External Examiner PARTIAL COPYR l GHT L l CENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University L ibrary, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis/Project/Extended Essay Author: (signature) (name 1 Abstract This thesis demonstrates how autosegmental licensing theory operates in Chinese. -
Digital Editions of Premodern Chinese Texts: Methods and Problems – Exemplified Using the Daozang Jiyao1道藏輯要
Chung-Hwa Buddhist Journal (2012, 25:167-194) Taipei: Chung-Hwa Institute of Buddhist Studies 中華佛學學報第二十五期 頁 167-194 (民國一百零一年),臺北:中華佛學研究所 ISSN:1017-7132 Digital Editions of Premodern Chinese Texts: Methods and Problems – Exemplified Using the Daozang Jiyao1道藏輯要 Christian Wittern Kyoto University Abstract Digital editions do have a great potential for new avenues of research, but they also pose vexing research questions that have to be resolved adequately in order to make the resulting edition useful in the long run. One of the many differences between printed editions of texts and digital editions is the open-endedness of the latter, which means that it can be done incrementally and updated without incurring substantial expenses. The medium of digital editions requires the creator to make many assumptions about the texts explicit and record them in a way that can be processed automatically. This is a new concept, which seems foreign to the agenda of a scholar whose ultimate aim is to engage with the text. This article demonstrates that what seems like a detour is actually advancing the understanding of the text and the need objectify a text in this gives access to new dimensions of a text. It then goes on to provide details of a conceptual model for describing a premodern text digitally that has been developed working on a digital edition of the early Qing Daoist collection Daozang jiyao. Keywords: Text Encoding, Digital Editions, Character Encoding, XML, Doaist Studies 1 I would like to thank the anonymous reviewers for this journal for their very helpful suggestions for clarifications and general improvement of the article.