Word and Sound Frequency in Cantonese: Comparisons Across Three Corpora
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Chinese (Chin) 1
CHINESE (CHIN) 1 CHIN 242. Chinese Qin Music. 3 Credits. CHINESE (CHIN) This course offers students an opportunity to learn the aesthetics, culture, and history of qin, and study the music through learning the CHIN 101. Elementary Chinese I. 4 Credits. beginning levels of qin pieces. Introduction to Mandarin Chinese, focusing on pronunciation, simple Gen Ed: VP, BN, EE- Performing Arts. conversation, and basic grammar. Reading and writing Chinese Grading status: Letter grade. characters are also taught. Writing Chinese characters is required. Four CHIN 244. Introduction to Modern Chinese Culture through Cinema. 3 hours per week. Students may not receive credit for both CHIN 101 or Credits. CHIN 102 and CHIN 111. This course uses select feature and documentary films, supplemented by Gen Ed: FL. texts of critical and creative literature, to introduce students to a broad Grading status: Letter grade. overview of modern China since the mid-19th century, focusing on the CHIN 102. Elementary Chinese II. 4 Credits. major events that have shaped a turbulent course of decline, revolution, Continued training in listening, speaking, reading, and writing on everyday and resurgence. topics. Writing Chinese characters is required. Four hours per week. Gen Ed: VP, BN. Students may not receive credit for both CHIN 101 or CHIN 102 and Grading status: Letter grade. CHIN 111. CHIN 252. Introduction to Chinese Culture through Narrative. 3 Credits. Requisites: Prerequisite, CHIN 101. This course shows how Chinese historical legends define and transmit Gen Ed: FL. the values, concepts, figures of speech, and modes of behavior that Grading status: Letter grade. constitute Chinese culture. -
Example Sentences
English 中文 harmony Opening/ Home page Tap on a button in the loading pentagon to dive into that Upon opening the app, the world. Pressing the yin yang user will see “English” and in the center takes you to the “中文” merge into a yin app’s “About” page. yang. That reflects the goal of harmony - to help the user Most things are labeled learn Cantonese and/or in English and Chinese to Mandarin through a bilingual help the user learn Chinese experience without getting more quickly, but this (and too stressed. Soothing colors, many other things) can be pleasing visuals, and relaxing changed in the settings and music keep the user at peace. preferences. harmony (Icons in top navigation bar, from left to right: home button, help button, and harmony settings button.) Dictionary (initial) When you first open the By default, the app only shows dictionary, it shows the items you the last 15 items you you last looked at - your looked at, but you can change history. The green tabs along this in the settings menu. the bottom allow you to swipe between items you recently The search bar is fixed as you viewed, items you starred, or scroll so you can search at any items most popular with other point (instead of having to harmony users. scroll back up to the top). Here, all the characters are in Traditional Chinese because the user left the “Traditional Chinese” checkbox in the search bar checked. The app remembers your choice even after you leave the dictionary section. harmony Choosing Typing in type of input your query To begin your search, you’ll Tapping the search field will want to first choose your make the keyboard pop up type of input by pressing the and allow you to type in your button next to the search field. -
The Reconstruction of Proto-Yue Vowels
W O R K I N G P A P E R S I N L I N G U I S T I C S The notes and articles in this series are progress reports on work being carried on by students and faculty in the Department. Because these papers are not finished products, readers are asked not to cite from them without noting their preliminary nature. The authors welcome any comments and suggestions that readers might offer. Volume 40(2) 2009 (March) DEPARTMENT OF LINGUISTICS UNIVERSITY OF HAWAI‘I AT MĀNOA HONOLULU 96822 An Equal Opportunity/Affirmative Action Institution WORKING PAPERS IN LINGUISTICS: UNIVERSITY OF HAWAI‘I AT MĀNOA, VOL. 40(2) DEPARTMENT OF LINGUISTICS FACULTY 2009 Victoria B. Anderson Byron W. Bender (Emeritus) Benjamin Bergen Derek Bickerton (Emeritus) Robert A. Blust Robert L. Cheng (Adjunct) Kenneth W. Cook (Adjunct) Kamil Ud Deen Patricia J. Donegan (Co-Graduate Chair) Emanuel J. Drechsel (Adjunct) Michael L. Forman (Emeritus) George W. Grace (Emeritus) John H. Haig (Adjunct) Roderick A. Jacobs (Emeritus) Paul Lassettre P. Gregory Lee Patricia A. Lee Howard P. McKaughan (Emeritus) William O’Grady (Chair) Yuko Otsuka Ann Marie Peters (Emeritus, Co-Graduate Chair) Kenneth L. Rehg Lawrence A. Reid (Emeritus) Amy J. Schafer Albert J. Schütz, (Emeritus, Editor) Ho Min Sohn (Adjunct) Nicholas Thieberger Laurence C. Thompson (Emeritus) ii A RECONSTRUCTION OF PROTO-YUE VOWELS KAREN HUANG This paper presents an alternative reconstruction of Proto-Yue vowels in the literary stratum. Opposed to previous studies, the rhyme categories are not considered. I analyze the literary stratum of eighteen Yue dialects and reconstruct the vowel system based on the comparative method. -
Language Specific Peculiarities Document for Cantonese As
Language Specific Peculiarities Document for Cantonese as Spoken in the Guangdong and Guangxi Provinces of China 1. Dialects The name "Cantonese" is used either for all of the language varieties spoken in specific regions in the Guangdong and Guangxi Provinces of China and Hong Kong (i.e., the Yue dialects of Chinese), or as one particular variety referred to as the "Guangfu group" (Bauer & Benedict 1997). In instances where Cantonese is described as 'Cantonese "proper"' (i.e. used in the narrower sense), it refers to a variety of Cantonese that is spoken in the capital cities Guangzhou and Nanning, as well as in Hong Kong and Macau. This database includes Cantonese as spoken in the Guangdong and Guangxi Provinces of China only (i.e. not in Hong Kong); five dialect groups have been defined for Cantonese (see the following table)1. Three general principles have been used in defining these dialect groupings: (i) phonological variation, (ii) geographical variation, and (iii) lexical variation. With relation to phonological variation, although Cantonese is spoken in all of the regions listed in the table, there are differences in pronunciation. Differences in geographic locations also correlate with variations in lexical choice. Cultural differences are also correlated with linguistic differences, particularly in lexical choices. Area Cities (examples) Central Guangzhou, Conghua, Fogang (Shijiao), Guangdong Longmen, Zengcheng, Huaxian Group Northern Shaoguan, Qijiang, Lian Xian, Liannan, Guangdong Yangshan, Yingde, Taiping Group Northern -
Tianjinese Lexical Tone, Tone Sandhi, and Prosody: Amplitude-F0 Dependency Under Prominence in Mandarin
Tianjinese Lexical Tone, Tone Sandhi, and Prosody: Amplitude-f0 Dependency under Prominence in Mandarin Deborah S. Davison Department of Research Compliance Stanford University, Stanford, CA 95070 USA [email protected] Abstract A fei21 ‘not’; ta21 ‘s/he, it’ In Tianjin Mandarin, f0 and amplitude track together on low B lai45 ‘come’; bie45ren45 ‘other people’ (L) tone T1, low rising (LH) tone T3, and high falling (HL) C jiu13 ‘wine, liquor’; hao13 ‘good’ tone T4, as is claimed to be true generally of Standard D hui51 ‘can, be able to’; you51 ‘again, both’ Mandarin (see Yip 2002). In contrast, lexical high tone T2 f0 tracks least systematically with amplitude, whereas tone- “Tone sandhi” (TS) refers to the replacement of one tone sandhi derived high tones on T3 and T2 co-vary with category by another on the first, ‘target’ syllable of disyllabic amplitude most consistently. The tone sandhi induced words and phrases, conditioned by the tone category of the insertion of T2 high f0/db pitch accent between adjacent low second, ‘trigger’ syllable. While BJ has one TS rule, TJ is tones co-occurs with phrase level prominence on the disyllabic traditionally described as having four. Recent studies such as word or phrase in which it appears. These facts are consistent Milliken et al. 1997 have reanalyzed TJ TS as resulting from with other evidence in Tianjinese of H pitch accent surfacing phonological auto-segmental association processes and the before L tones: f0 on neutral tone 0 before L Tone 1 and LH application of language universal constraints. Tone 3 syllables is high, on hypothesis in the same phrasal environments, and f0/amplitude excursions on T3 before L T1 Figure 3: TS in BJ and TJ often are as well. -
Homophones and Tonal Patterns in English-Chinese Transliteration
Homophones and Tonal Patterns in English-Chinese Transliteration Oi Yee Kwong Department of Chinese, Translation and Linguistics City University of Hong Kong Tat Chee Avenue, Kowloon, Hong Kong [email protected] to overcome the problem and model the charac- Abstract ter choice directly. Meanwhile, Chinese is a typical tonal language and the tone information The abundance of homophones in Chinese can help distinguish certain homophones. Pho- significantly increases the number of similarly neme mapping studies seldom make use of tone acceptable candidates in English-to-Chinese information. Transliteration is also an open transliteration (E2C ). The dialectal factor also problem, as new names come up everyday and leads to different transliteration practice. We there is no absolute or one-to-one transliterated compare E2C between Mandarin Chinese and Cantonese, and report work in progress for version for any name. Although direct ortho- dealing with homophones and tonal patterns graphic mapping has implicitly or partially mod- despite potential skewed distributions of indi- elled the tone information via individual charac- vidual Chinese characters in the training data. ters, the model nevertheless heavily depends on the availability of training data and could be 1 Introduction skewed by the distribution of a certain homo- phone and thus precludes an acceptable translit- This paper addresses the problem of automatic eration alternative. We therefore propose to English-Chinese forward transliteration (referred model the sound and tone together in E2C . In to as E2C hereafter). this way we attempt to deal with homophones There are only a few hundred Chinese charac- more reasonably especially when the training ters commonly used in names, but their combina- data is limited. -
A Note on Orthography and Transcription
A Note on Orthography and Transcription there are two major problems with transcribing Cantonese speech on paper. The first is the lack of a fully standardized Cantonese script. In this book, I have done my best to produce the transcripts in ways that I think reflect common existing practices.I n 1999, the Hong Kong Special Administrative Region government published a Chinese character set known as the Hong Kong Supplementary Character Set (HKSCS). The latest version of the HKSCS (2001) contains 4,818 Chi- nese characters that are specific to the Hong Kong environment (Hong Kong Special Administrative Region Government, Information Technol- ogy Services Department 2004). This character set can be seen as a first step toward a standardized Cantonese script. As a rule, all the characters used in my transcriptions are taken from the HKSCS. The second is the problem of romanization. Several romanization schemes for Cantonese are in circulation. The Yale and Meyer-Wempe systems appear to be the most commonly adopted in the English-language literature. In this book, I follow the new Cantonese Romanization Scheme, or Jyutping system, promoted by the Linguistic Society of Hong Kong. Jyutping is intuitive to Cantonese speakers. It is also convenient, because it is based solely on alphanumeric characters (unlike the Yale system, for example, which uses diacritics). But Jyutping is a relatively new system; readers who are familiar with the Yale system may find the new system difficult to follow in the beginning. The key features of the Jyutping sys- tem are the following. 1 . Consonants. In Cantonese, consonants (shown in Table 1), are di- vided into initial consonants, or onsets (those that occupy the initial position of a syllable), and final consonants, or codas (those that oc- cupy the final position of a syllable). -
SYLLABLE FUSION in HONG KONG CANTONESE CONNECTED SPEECH DISSERTATION Presented in Partial Fulfillment of the Requirements for Th
SYLLABLE FUSION IN HONG KONG CANTONESE CONNECTED SPEECH DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Wai Yi Peggy Wong, B.A., M.A. ***** The Ohio State University 2006 Dissertation Committee: Professor Mary E Beckman, Adviser _________________________ Professor Marjorie K M Chan, Co-Adviser Adviser Professor Chris Brew _________________________ Co-Adviser Linguistics Graduate Program © Copyright by Wai Yi Peggy Wong 2006 ABSTRACT This dissertation is about “syllable fusion” in Hong Kong Cantonese. Syllable fusion is a connected-speech phenomenon whereby boundaries between syllables are blurred together in a way that suggests an intermediate level of grouping between the syllable and the larger intonational phrase. Previous studies of this phenomenon have focused on extreme cases — i.e. whole segments (consonants and/or vowels) are deleted at the relevant syllable boundary. By contrast, in this dissertation, “syllable fusion” refers to a variety of changes affecting a sequence of two syllables that range along a continuum from “mild” to “extreme” blending together of the syllables. Less extreme changes include assimilation, consonant lenition and so on, any substantial weakening or effective deletion of the oral gesture(s) of the segment(s) contiguous to the syllable boundary, and the sometimes attendant resyllabifications that create “fused forms”. More extreme fusion can simplify contour tones and “merge” the qualities of vowels that would be separated by an onset or coda consonant at more “normal” degrees of disjuncture between words. ii The idea that motivates the experiments described in this dissertation is that the occurrence of syllable fusion marks prosodic grouping at the level of the “foot”, a phonological constituent which has been proposed to account for prosodic phenomena such as the process of tone sandhi and neutral tone in other varieties of Chinese. -
Cantonese As a World Language from Pearl River and Beyond
Volume 10 Issue 2 (2021) Cantonese as a World Language From Pearl River and Beyond Jiaqing Zeng1 and Asif Agha2 1St. Paul’s School, Concord, NH, USA 2University of Pennsylvania, Philadelphia, PA, USA DOI: https://doi.org/10.47611/jsrhs.v10i2.1435 ABSTRACT In this paper, I will be comparing different registers of Cantonese from all around the world, mainly focusing on the Pearl River Delta region after the 1800s. Yet my larger purpose is to draw attention to how these different registers relate to the cultural values and social lives of the people living in those places. Max Weinreich, a pioneer sociolinguist and Yiddish scholar once said, “a language is a dialect with an army and a navy (Fishman).” Cantonese is no exception, and the state of this language has been dependent upon four factors: the geographic distribution of the Cantonese- speaking population, the economic development of Cantonese-speaking regions, official status, and international sig- nificance. Introduction Cantonese is one of the Chinese dialects and the mother tongue for the Guangfu people of Han Chinese, who were originally from China’s Lingnan region. The language has a complete set of nine tones, retaining many features of Middle Ancient Chinese since the area seldom suffered from wars and was unaffected by the nomadic minorities in northern China. It has a complete series of characters that can be expressed independently from other Chinese lan- guages, and it is the only Chinese language that has been studied in foreign universities in addition to Mandarin. It originated from Canton (Guangzhou) because of the important role that Canton had played in China’s important pol- itics, economy, and culture since ancient times, and it still has official status in Hong Kong and Macau today. -
1 Introduction to Jyutping 粵拼(A Cantonese
Introduction to Jyutping 粵拼 (A Cantonese Romanization) There are 6 tones in Jyutping. Initials n b bai1 瘸 (adj.) limp n p pai1 批 (v.) to approve n m mai1 咪 (n.) microphone n f fai1 輝 (n.) brilliance n d dai1 低 (adj.) low n t tai1 梯 (n.) ladder n n nai4 泥 (n.) soil n l lai4 嚟 (v.) to come n g gai1 雞 (n.) chicken n k kai1 溪 (n.) brook n ng ngai1 哀 (v.) to beg n h hai6 係 (v.) be 1 n gw gwai3 貴 (adj.) expensive n kw kwai1 虧 (n.) deficit n w wai3 喂 (v.) to feed n z zai1 劑 (n.) dose n c cai1 妻 (n.) wife n s sai1 西 (n.) west n j jai1 曳 (adj.) silly Finals Vowel: aa n aa zaa1 揸 (v.) to hold n aai zaai1 齋 (n.) vegan n aau zaau1 嘲 to make fun of n aam zaam6 站 (n.) station n aan zaan3 讚 (v.) to praise n aang zaang1 爭 (v.) to fight for n aap zaap6 集 (v.) to gather n aat zaat3 扎 (n.) bundle n aak zaak3 窄 (adj.) narrow Vowel: a n ai zai1 擠 (v.) to squeeze (an object) n au zau1 周 (adv.) around n am zam1 斟 (v.) to pour n an zan1 真 (adj.) real n ang zang1 憎 (v.) to hate n ap zap1 汁 (n.) juice n at zat2 侄 (n.) nephew/niece n ak zak1 側 (n.) lateral 2 Vowel: e n e se2 寫 (v.) to write n ei sei3 四 (num.) four n eu* deu6 掉 (v.) to dump n em* lem2 舔 (v.) to lick n eng beng6 病 (adj.) sick n ep* gep2 夾 (n.) clip n ek sek6 石 (n.) stone/rock Vowel: i n i si1 詩 (n.) poem n iu siu1 消 (v.) to disappear n im sim2 閃 (adj.) sparkling n in sin1 先 (adv.) first n ing sing1 升 (v.) to elevate n ip sip3 攝 (v.) to shoot (a scene) n it sit3 洩 (v.) to divulge n ik sik1 識 (v.) to know Vowel: o n o ho2 可 (aux.) can n oi hoi1 開 (v.) to open n ou hou2 好 (adj.) good n on hon6 汗 (n.) -
Cantonese and Putonghua in Hong Kong: Trends, Challenges, and Perspectives of Coexistence
CANTONESE AND PUTONGHUA IN HONG KONG: TRENDS, CHALLENGES, AND PERSPECTIVES OF COEXISTENCE Freie wissenschaftliche Arbeit zur Erlangung eines Mastergrades am Fachbereich Geschichts- und Kulturwissenschaften der Freien Universität Berlin im Masterstudiengang Chinastudien eingereicht von: Isabella Valentini Dr. Andreas Guder Univ.-Prof. Dr. Klaus Mühlhahn 0 Contents LIST OF ILLUSTRATIONS AND TABLES ........................................................................ 4 1. INTRODUCTION ......................................................................................................... 5 1.1. TERMINOLOGY ............................................................................................................ 7 2. THE FEATURES OF CANTONESE IN HONG KONG ............................................. AND MAINLAND CHINA ........................................................................................... 9 2.1. A LINGUISTIC AND HISTORICAL OUTLINE OF YUE AND CANTONESE .......................... 10 2.1.1. HISTORICAL BACKGROUND ....................................................................................... 12 2.1.2. YUE AND CANTONESE STUDIES ................................................................................. 14 2.2. CANTONESE AND PUTONGHUA IN GUANGDONG: ........................................................... THE EXPERIENCE IN THE MAINLAND .......................................................................... 18 2.2.1. THE BIRTH OF A UNIFIED CHINESE LANGUAGE .......................................................... -
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's Name Dates R Pinyin Romanization of Artist's
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's name ❍ Dates ❍ Pinyin Romanization of Artist's name Artists are listed alphabetically by Wade-Giles. This list is not comprehensive; it reflects the catalogue of visual resource materials offered by AAPD. Searches are possible in either form of Romanization. To search for a specific artist, use the find mode (under Edit) from the pull-down menu. Lady Ai-lien ❍ (late 19th c.) ❍ Lady Ailian Cha Shih-piao ❍ (1615-1698) ❍ Zha Shibiao Chai Ta-K'un ❍ (d.1804) ❍ Zhai Dakun Chan Ching-feng ❍ (1520-1602) ❍ Zhan Jingfeng Chang Feng ❍ (active ca.1636-1662) ❍ Zhang Feng Chang Feng-i ❍ (1527-1613) ❍ Zhang Fengyi Chang Fu ❍ (1546-1631) ❍ Zhang Fu Chang Jui-t'u ❍ (1570-1641) ❍ Zhang Ruitu Chang Jo-ai ❍ (1713-1746) ❍ Zhang Ruoai Chang Jo-ch'eng ❍ (1722-1770) ❍ Zhang Ruocheng Chang Ning ❍ (1427-ca.1495) ❍ Zhang Ning Chang P'ei-tun ❍ (1772-1842) ❍ Zhang Peitun Chang Pi ❍ (1425-1487) ❍ Zhang Bi Chang Ta-ch'ien [Chang Dai-chien] ❍ (1899-1983) ❍ Zhang Daqian Chang Tao-wu ❍ (active late 18th c.) ❍ Zhang Daowu Chang Wu ❍ (active ca.1360) ❍ Zhang Wu Chang Yü [Chang T'ien-yu] ❍ (1283-1350, Yüan Dynasty) ❍ Zhang Yu [Zhang Tianyu] Chang Yü ❍ (1333-1385, Yüan Dynasty) ❍ Zhang Yu Chang Yu ❍ (active 15th c., Ming Dynasty) ❍ Zhang You Chang Yü-ts'ai ❍ (died 1316) ❍ Zhang Yucai Chao Chung ❍ (active 2nd half 14th c.) ❍ Zhao Zhong Chao Kuang-fu ❍ (active ca. 960-975) ❍ Zhao Guangfu Chao Ch'i ❍ (active ca.1488-1505) ❍ Zhao Qi Chao Lin ❍ (14th century) ❍ Zhao Lin Chao Ling-jang [Chao Ta-nien] ❍ (active ca.