Discovering Legible and Readable Chinese Typefaces for Reading Digital Documents

Total Page:16

File Type:pdf, Size:1020Kb

Discovering Legible and Readable Chinese Typefaces for Reading Digital Documents DISCOVERING LEGIBLE AND READABLE CHINESE TYPEFACES FOR READING DIGITAL DOCUMENTS BING ZHANG A THESIS IN THE DEPARTMENT OF COMPUTER SCIENCE AND SOFTWARE ENGINEERING PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF COMPUTER SCIENCE AT CONCORDIA UNIVERSITY MONTREAL, QUEBEC, CANADA AUGUST 2011 © BING ZHANG, 2011 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Bing ZHANG Entitled: Discovering Legible and Readable Chinese Typefaces for Reading Digital Documents and submitted in partial fulfillment of the requirements for the degree of Master of Computer Science complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _______________________________Chair Dr. R. Jayakumar _______________________________Examiner Dr. T. Kasvand _______________________________Examiner Dr. C. Lam _______________________________ Supervisor Dr. Ching Y. Suen Approved by __________________________________________ Chair of Department or Graduate Program Director __________ 20_____ __________________________________________ Dr. Robin A. L. Drew, Dean Faculty of Engineering and Computer Science ii ABSTRACT DISCOVERING LEGIBLE AND READABLE CHINESE TYPEFACES FOR READING DIGITAL DOCUMENTS BING ZHANG Concordia University In recent years, more and more fonts have been implemented in the digital publishing industry and in reading devices. In this thesis, we focus on the methods of evaluating digital Chinese fonts and their typeface characteristics. Our goal is to seek a good way to enhance the legibility and readability of Chinese characters displayed on digital devices such as cell phones, tablets and e-book devices. To accomplish this goal, we have combined methods in data mining, and pattern recognition with psychological and statistical analyses. Our research involved an extensive survey of the distinctive features of eighteen popular Chinese digital typefaces. Survey results were tabulated and analyzed statistically. Then, two objective experiments were conducted, using the best six fonts derived from the survey results. These experimental results have revealed an effective way of choosing legible and readable Chinese digital fonts that are most suitable for the comfortable reading of books, magazines, newspapers, and for the display of texts on cell-phones, e-books, and digital libraries. Results also helped us find out the features for improving character legibility and readability of different Chinese typefaces. The relationships among legibility, readability, eye-strain, and myopia, will be discussed. Moreover, digital market requirements and analyses will be provided. iii ACKNOWLEDGEMENTS It is a pleasure to thank many people who helped me accomplish this thesis a lot. Their helps to me not only is to finish my current study, but helping my life’s study as well. What I learnt from my supervisor are not only the expertise and research ideas, but also the research among human, including communication, negotiation, cooperation and so on. Thus, firstly I would like to appreciate the helps sincerely from my dear supervisor, Dr. Ching Y. Suen, for his suggestive instruction, persistent guidance, warm encouragement and continuous support. Without his help and support, my study would not have been accomplished. I feel extremely lucky to have been supervised by Dr. Suen, and it is my honor to work with him. Moreover, I have to say thank you to all my colleagues and staff in the Center for Pattern Recognition and Machine Intelligence (CENPARMI), for providing a positive, optimistic and studious environment in which to learn and grow. Especially, I am really grateful to Guiling Guo, Ying Li, Xiaoxiao Niu, Xiaohua Xie, and Chao Yao. They are all my “family members” in CENPARMI, and they taught me a lot in both study and living. A special thanks to the research manager of CENPARMI, Mr. Nicola Nobile, for his technical support and assistance, and to Ms. Shira Katz, for her editing and proofreading of this thesis. Also I want to say thank you to our office assistants, Ms. Marleah Blom, for her administrative assistance. iv Then, I wish to say thank you to my parents, for their constant moral support. I am very thankful to them for all they have given me in my life, for sharing ups and downs, and for reminding me, when necessary. Last but not least, I am very thankful to everyone who has directly and indirectly helped me, in any way, to accomplish this research. v Table of Contents Chapter 1. Introduction ................................................................................................... 1 1.1 Background ..................................................................................................... 1 1.2 Motivation ....................................................................................................... 5 1.3 Objective ....................................................................................................... 10 1.4 Current Chinese typefaces ............................................................................. 12 1.4.1 Character shape ....................................................................................... 14 1.4.2 Character blackness ................................................................................. 19 1.5 Thesis Outline ................................................................................................ 21 Chapter 2. Survey of Human Preference of Fonts ........................................................ 22 2.1 Survey Description ........................................................................................ 22 2.2 Structural Design ........................................................................................... 23 2.3 Detailed Design ............................................................................................. 24 2.3.1 Subjective Questions Design ................................................................... 24 2.3.2 Objective Experiment Design: ................................................................ 26 2.4 Survey Results and Analysis ......................................................................... 28 Chapter 3. Legibility Analysis ...................................................................................... 33 3.1 Data Collection .............................................................................................. 33 3.2 Participants .................................................................................................... 36 vi 3.3 Materials and Equipment ............................................................................... 36 3.3.1 Data Preprocessing .................................................................................. 36 3.3.2 Equipment ............................................................................................... 37 3.4 SCFRT procedure .......................................................................................... 37 3.4.1 Data Processing ....................................................................................... 38 3.4.2 Tests of Within-Subjects Effects ............................................................. 40 3.4.3 Pairwise Comparisons ............................................................................. 46 3.5 Discussion ..................................................................................................... 53 Chapter 4. Readability Experiment .............................................................................. 56 4.1 Studied Chinese Fonts ................................................................................... 56 4.2 Materials ........................................................................................................ 57 4.3 Experimental Results ..................................................................................... 60 4.3.1 Analysis of reading speed ....................................................................... 61 4.3.2 Comprehension Analysis......................................................................... 68 4.4 Discussion ..................................................................................................... 72 4.4.1 FZHT vs. FZWB ..................................................................................... 72 4.4.2 FZHT vs. WRYH .................................................................................... 74 Chapter 5. Simulation and Verification of Machine OCR ........................................... 78 5.1 Simulation of the Single Character Recognition ........................................... 78 vii 5.1.1 Test data .................................................................................................. 79 xProjectionmethod ......................................................................................... 79 5.1.2 Data preprocessing .................................................................................. 80 5.1.2.1 Binarization ......................................................................................... 80 5.1.2.2 Image Smoothing ................................................................................ 80 5.1.2.3 Normalization ..................................................................................... 82 5.1.3 Feature Extraction ................................................................................... 83 5.1.3.1 Gradient Features
Recommended publications
  • Arabic Handwriting Synthesis
    © Yousef S. I. Elarian 2014 iii Dedication dهل لوالدي ثم لكل محب To Allah Then, to my parents, and to all who helped, cared, or loved. iv ACKNOWLEDGMENTS Thanks again to my Lord, and to my Parents. Thanks to King Abdul Aziz City for Science and Technology (KACST) for granting and supporting this work (Project # GSP-18-112). Thanks to Dr. Sabri Mahmoud and to Dr. Muhammad Al-Mulhem. Deep Personal Thanks to Dr. Zidouri, Dr. Al-Khatib, and the committee members. Thanks to my colleagues: Sameh, Tanvir, Misbahuddin, Irfan, Anas, and to all who helped that this dissertation is completed Thanks from the heart. v TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................................................... V TABLE OF CONTENTS ............................................................................................... VI LIST OF TABLES .......................................................................................................... IX LIST OF FIGURES ........................................................................................................ XI LIST OF ABBREVIATIONS ..................................................................................... XIV ABSTRACT ................................................................................................................ XVII XIX .................................................................................................................... ملخص الرسالة CHAPTER 1 INTRODUCTION ..................................................................................
    [Show full text]
  • Stochastic Model of Stroke Order Variation
    2009 10th International Conference on Document Analysis and Recognition Stochastic Model of Stroke Order Variation Yoshinori Katayama, Seiichi Uchida, and Hiroaki Sakoe Faculty of Information Science and Electrical Engineering, Kyushu University, 819-0395, Japan fyosinori,[email protected] Abstract “ ¡ ” under an unnatural stroke correspondence which max- imizes their similarity. Note that the correct stroke order of A stochastic model of stroke order variation is proposed “ ” is (“—” ! “j' ! “=” ! “n” ! “–”) and that of “ ¡ ” and applied to the stroke-order free on-line Kanji character is (“—” ! “–” ! “j' ! “=” ! “n” ). Thus if we allow any recognition. The proposed model is a hidden Markov model stroke order variation, those two characters become almost (HMM) with a special topology to represent all stroke order identical. variations. A sequence of state transitions from the initial One possible remedy to suppress the misrecognitions is state to the final state of the model represents one stroke to penalize unnatural i.e., rare stroke order on optimizing order and provides a probability of the stroke order. The the stroke correspondence. In fact, there are popular stroke distribution of the stroke order probability can be trained orders (including the standard stroke order) and there are automatically by using an EM algorithm from a training rare stroke orders. If we penalize the situation that “ ¡ ” is set of on-line character patterns. Experimental results on matched to an input pattern with its very rare stroke order large-scale test patterns showed that the proposed model of (“—” ! “j' ! “=” ! “n” ! “–”), we can avoid the could represent actual stroke order variations appropriately misrecognition of “ ” as “ ¡ .” and improve recognition accuracy by penalizing incorrect For this purpose, a stochastic model of stroke order vari- stroke orders.
    [Show full text]
  • Nushu and the Writing of Religious
    NOSHU AND RELIGIOUS CULTURE IN CHINA "MY MOTHER WATCHED OVER AN EMPTY HOUSE AND',WAS SEPARATED FROM THE HEA VENL Y FEMALE": NUSHU AND THE WRITING OF RELIGIOUS CULTURE IN CHINA By STEPHANIE BALK WILL, B.A. (H.Hons.) A Thesis Submitted to the School of Graduate Studies in Partial FulfiHment ofthe Requirements for the Degree Master of Arts McMaster University © Copyright by Stephanie Balkwill, August 2006 MASTER OF ARTS (2006) McMaster University (Religious Studies) Hamilton, Ontario TITLE: "My Mother Watched Over an Empty House and was Separated From the Heavenly Female": Nushu and the Writing IOf Religious Culture in China. AUTHOR: Stephanie Balkwill, B.A. (H.Hons.) (University of Regina) SUPERVISOR: Dr. James Benn NUMBER OF PAGES: v, 120 ii ]rll[.' ' ABSTRACT Niishu, or "Women's Script" is a system of writing indigenous to a small group of village women in iJiangyong County, Hunan Province, China. Used exclusively by and for these women, the script was developed in order to write down their oral traditions that may have included songs, prayers, stories and biographies. However, since being discovered by Chinese and Western researchers, nushu has been rapidly brought out of this Chinese village locale. At present, the script has become an object of fascination for diverse audiences all over the world. It has been both the topic of popular media presentations and publications as well as the topic of major academic research projects published in Engli$h, German, Chinese and Japanese. Resultantly, niishu has played host to a number of mo~ern explanations and interpretations - all of which attempt to explain I the "how" and the "why" of an exclusively female script developed by supposedly illiterate women.
    [Show full text]
  • Chinese Script Generation Panel Document
    Chinese Script Generation Panel Document Proposal for the Generation Panel for the Chinese Script Label Generation Ruleset for the Root Zone 1. General Information Chinese script is the logograms used in the writing of Chinese and some other Asian languages. They are called Hanzi in Chinese, Kanji in Japanese and Hanja in Korean. Since the Hanzi unification in the Qin dynasty (221-207 B.C.), the most important change in the Chinese Hanzi occurred in the middle of the 20th century when more than two thousand Simplified characters were introduced as official forms in Mainland China. As a result, the Chinese language has two writing systems: Simplified Chinese (SC) and Traditional Chinese (TC). Both systems are expressed using different subsets under the Unicode definition of the same Han script. The two writing systems use SC and TC respectively while sharing a large common “unchanged” Hanzi subset that occupies around 60% in contemporary use. The common “unchanged” Hanzi subset enables a simplified Chinese user to understand texts written in traditional Chinese with little difficulty and vice versa. The Hanzi in SC and TC have the same meaning and the same pronunciation and are typical variants. The Japanese kanji were adopted for recording the Japanese language from the 5th century AD. Chinese words borrowed into Japanese could be written with Chinese characters, while Japanese words could be written using the character for a Chinese word of similar meaning. Finally, in Japanese, all three scripts (kanji, and the hiragana and katakana syllabaries) are used as main scripts. The Chinese script spread to Korea together with Buddhism from the 2nd century BC to the 5th century AD.
    [Show full text]
  • A Comparative Analysis of the Simplification of Chinese Characters in Japan and China
    CONTRASTING APPROACHES TO CHINESE CHARACTER REFORM: A COMPARATIVE ANALYSIS OF THE SIMPLIFICATION OF CHINESE CHARACTERS IN JAPAN AND CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2012 By Kei Imafuku Thesis Committee: Alexander Vovin, Chairperson Robert Huey Dina Rudolph Yoshimi ACKNOWLEDGEMENTS I would like to express deep gratitude to Alexander Vovin, Robert Huey, and Dina R. Yoshimi for their Japanese and Chinese expertise and kind encouragement throughout the writing of this thesis. Their guidance, as well as the support of the Center for Japanese Studies, School of Pacific and Asian Studies, and the East-West Center, has been invaluable. i ABSTRACT Due to the complexity and number of Chinese characters used in Chinese and Japanese, some characters were the target of simplification reforms. However, Japanese and Chinese simplifications frequently differed, resulting in the existence of multiple forms of the same character being used in different places. This study investigates the differences between the Japanese and Chinese simplifications and the effects of the simplification techniques implemented by each side. The more conservative Japanese simplifications were achieved by instating simpler historical character variants while the more radical Chinese simplifications were achieved primarily through the use of whole cursive script forms and phonetic simplification techniques. These techniques, however, have been criticized for their detrimental effects on character recognition, semantic and phonetic clarity, and consistency – issues less present with the Japanese approach. By comparing the Japanese and Chinese simplification techniques, this study seeks to determine the characteristics of more effective, less controversial Chinese character simplifications.
    [Show full text]
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
    [Show full text]
  • The Perception of Simplified and Traditional Chinese Characters in the Eye of Simplified and Traditional Chinese Readers
    The perception of simplified and traditional Chinese characters in the eye of simplified and traditional Chinese readers Tianyin Liu ([email protected]) Janet Hui-wen Hsiao ([email protected]) Department of Psychology, University of Hong Kong 604 Knowles Building, Pokfulam Road, Hong Kong SAR Abstract components and have better ability to ignore some unimportant configural information for recognition, such as Expertise in Chinese character recognition is marked by analytic/reduced holistic processing (Hsiao & Cottrell, 2009), exact distances between features (Ge, Wang, McCleery, & which depends mainly on readers’ writing rather than reading Lee, 2006) compared with novices (Ho, Ng, & Ng., 2003; experience (Tso, Au, & Hsiao, 2011). Here we examined Hsiao & Cottrell, 2009). Consequently, expert readers may whether simplified and traditional Chinese readers process process Chinese characters less holistically than novices. characters differently in terms of holistic processing. When There are currently two Chinese writing systems in use processing characters that are distinctive in the simplified and in Chinese speaking regions, namely simplified and traditional scripts, we found that simplified Chinese readers were more analytic than traditional Chinese readers in traditional Chinese. The simplified script was created during perceiving simplified characters; this effect depended on their the writing reform initiated by the central government of the writing rather than reading/copying performance. In contrast, People’s Republic of China in the 1960s for easing the the two groups did not differ in holistic processing of learning process. Today the majority of Chinese speaking traditional characters, regardless of their performance regions including Mainland China, Singapore, and Malaysia difference in writing/reading traditional characters.
    [Show full text]
  • Chinese, Dutch, and Japanese in the Introduction of Western Learning in Tokugawa Japan
    _full_alt_author_running_head (neem stramien B2 voor dit chapter en dubbelklik nul hierna en zet 2 auteursnamen neer op die plek met and): 0 _full_articletitle_deel (kopregel rechts, vul hierna in): Polyglot Translators _full_article_language: en indien anders: engelse articletitle: 0 62 Heijdra Chapter 6 Polyglot Translators: Chinese, Dutch, and Japanese in the Introduction of Western Learning in Tokugawa Japan Martin J. Heijdra The life of an area studies librarian is not always excitement. Yes, one enjoys informing bright graduate students of the latest scholarship, identifying Chi- nese rubbings of Egyptological stelae, or discussing publishing gaps in the cur- rent scholarship with knowledgeable editors; but it involves sometimes the mundane, such as reshelving a copy of a nineteenth-century Japanese transla- tion of a medical work by Johannes de Gorter.1 It was while performing the latter duty that I noticed something odd. The characters used to write Gorter were 我爾德兒, which indeed could be read as Gorter. That is, if read in modern Chinese; if read in the usual Sino-Japanese, it would be *Gajitokuji, something far from the Dutch pronunciation. A quick perusal of some scholars of rangaku 蘭學, “Dutch Studies,” revealed a general lack of awareness of this question, why a Dutch name in a nineteenth-century Japanese book would be read in modern Chinese. Prompted to write an article in honor of a Dutch editor of East and South Asian Studies, I decided to inves- tigate this more thoroughly. There are many aspects to consider, and I must confess that the final reason is hard to come by; but while I have not reached a final conclusion, I hope that in the future scholars will at least recognize the phenomenon when encountered.
    [Show full text]
  • Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards
    Using Action-Level Metrics to Report the Performance of Multi-Step Keyboards Gulnar Rakhmetulla* Ahmed Sabbir Arif† Steven J. Castellucci‡ Human-Computer Interaction Group Human-Computer Interaction Group Independent Researcher University of California, Merced University of California, Merced Toronto I. Scott MacKenzie§ Caitlyn E. Seim¶ Electrical Engineering and Computer Science Mechanical Engineering York University Stanford University Table 1: Conventional error rate (ER) and action-level unit error rate ABSTRACT (UnitER) for a constructive method (Morse code). This table illustrates Computer users commonly use multi-step text entry methods on the phenomenon of using Morse code to enter “quickly” with one handheld devices and as alternative input methods for accessibility. character error (“l”) in each attempt. ER is 14.28% for each attempt. These methods are also commonly used to enter text in languages One of our proposed action-level metrics, UnitER, gives a deeper with large alphabets or complex writing systems. These methods insight by accounting for the entered input sequence. It yields an error require performing multiple actions simultaneously (chorded) or rate of 7.14% for the first attempt (with two erroneous dashes), and in a specific sequence (constructive) to produce input. However, an improved error rate of 3.57% for the second attempt (with only evaluating these methods is difficult since traditional performance one erroneous dash). The action-level metric shows that learning has metrics were designed explicitly for non-ambiguous, uni-step meth- occurred with a minor improvement in error rate, but this phenomenon ods (e.g., QWERTY). They fail to capture the actual performance of is omitted in the ER metric, which is the same for both attempts.
    [Show full text]
  • Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700 *
    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 Hesse 1 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.
    [Show full text]
  • VMD134 Calligraphy
    VMD134 Calligraphy Grendl Löfkvist • Instructor CCSF CALLIGRAPHY [VMD134] O COURSE WEBSITE grph151.wordpress.com YAHOO GROUP [email protected] CLASS MEETINGS Ocean Campus, VART Room 142 Mondays, August 21 – October 23, 2017 6:00 p.m. – 8:50 p.m. INSTRUCTOR Grendl Löfkvist [email protected] OFFICE HOURS Mondays, 5:30 p.m. – 5:50 p.m. COURSE REQUIREMENTS COURSE This class is a fun and exciting hands-on introduction to various techniques and styles of DESCRIPTION handlettering and calligraphy. At the end of this course, you should have an appreciation for the written letterform and its history, an understanding of how it relates to type design, and the resources to further pursue the study and practice of scripts and letterforms. CLASS This class meets for 8 class sessions from 6:00 – 8:50 p.m. Class time will include hands- MEETINGS on practice as well as demonstrations, critiques, and discussions. If you need to miss more than one class/homework deadline in a row, please contact me in advance to avoid being dropped from the class. LEARNING Upon completion of this course, students will be able to identify and discuss historical and OUTCOMES contemporary styles of calligraphy, prepare a surface and work environment for calligraphy practice, demonstrate various styles of calligraphy such as Rustic Roman, Uncials, and Copperplate, use an iterative process to create a calligraphic layout, and demonstrate the use of various calligraphic tools and materials. TEXTBOOKS AND REQUIRED COURSE READER AND SYLLABUS assembled by Grendl Löfkvist (bring to class!) READINGS SUPPLEMENTARY (OPTIONAL) READINGS: supplementary handouts and specimen sheets available on the course website, and a bibliography of recommended readings is provided along with the course reader.
    [Show full text]
  • Female Fabrications: an Examination of the Public and Private Aspects of Nüshu
    FEMALE FABRICATIONS: AN EXAMINATION OF THE PUBLIC AND PRIVATE ASPECTS OF NÜSHU Ann-Gee Lee A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2008 Committee: Sue Carter Wood, Advisor Jaclyn Cuneen Graduate Faculty Representative Kristine L. Blair Richard Gebhardt ii © 2008 Ann-Gee Lee All Rights Reserved iii ABSTRACT Sue Carter Wood, Advisor Nüshu is a Chinese women's script believed to have been invented and used before the Cultural Revolution. For about a couple centuries, Nüshu was used by uneducated rural women in Jiangyong County, Hunan Province, in China to communicate and correspond with one another, cope with their hardships, and promote creativity. Its complexity lies in the fact that it may come in different forms: written on paper fans or silk-bound books; embroidered on clothing and accessories; or sung while a woman or group of women were doing their domestic work. Although Nüshu is an old and somewhat secret female language which has been used for over 100 years, it has only been an academic field of study for about 25 years. Further, in the field of rhetoric and composition, despite the enormous interest in women's rhetorics and material culture, sources on Nüshu in relation to the two fields are scarce. In relation to Nüshu, through examinations of American domestic arts, such as quilts, scrapbooking, and so on, material rhetoric is slowly becoming a significant field of study. Elaine Hedges explains, “Recent research has focused on ‘ordinary women' whose household work comprised, defined, and often circumscribed their lives: the work of cooking, cleaning, and sewing that women traditionally and perpetually performed and has gone unheralded until now” (294).
    [Show full text]