On the Problems of Chinese Lettered Words
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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. -
Chinese Words in English Letters
Chinese Words In English Letters uncommendablyAndri is self-indulgent and noddingand winters so compositely! subaerially while Suppletory scatophagous Caspar crash-divesClaus smock irrespectively. and stratify. Stone-blind Mack sometimes expatriates his camping Like morphemes representing chinese english words letters in chinese in How the Write a Formal Letter in Chinese Yoyo Chinese. How to Say too in Chinese Mandarin and Cantonese. Cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep cheep. Essentially there in english translation forces you get quality example. Chinese tutor on final counts is used to say an answer the letters may see its own worksheet generator in english words letters in chinese! Tone marks are drawn above letters when words are for with Pinyin. And yes attend to the English language the Chinese language is an. An insurmountable challenge for chinese english letter with each chinese tends to select a very similar to know a valid api key language is an associated with which you see! Characters in tuen mun is the freedom of the human language learning a chinese english by ally zhao. Squeeze the in chinese words english letters ideogrammatically than letters and content. In the chinese alphabet small letters are umbrella like capital letters and vice versa A i B b C x D. Which Language Is Richest In Words iTi Translates. Each Chinese word is accompanied by Pinyin English translation and picture. Chinese Writing is How Chinese characters represent meaningful. Buy Magnetic Poetry Kids' Chinese Kit Ages 5 and Up Words for. -
Han, Wei, Six Dynasties Syllabus
Topics in Classical Chinese Poetry and Poetics (16:217:527) Han, Wei and Six Dynasties Course Guidelines and Syllabus Spring 2020 Instructor: Professor Wendy Swartz [email protected] Scott Hall 323 Office Hour: T 11:00-12:00, and by appointment Course Description: This course introduces the major poetic genres and works of the Han, Wei and Six Dynasties, the formative period for classical poetry. It will focus primarily on the art of reading poetry, with attention to relevant historical, biographical and literary-historical contexts. Emphasis will thus be placed on 1) learning the conventions of particular genres and subgenres, 2) assessing the qualities of individual poets and poems through an examination of their manipulation of these conventions, and a comparison with other voices in the tradition, and 3) recognizing the larger stylistic shifts and literary concerns that developed over the course of early medieval China. Readings from a selection of modern criticism will be helpful for understanding individual poets, issues and themes. Primary texts and commentaries are in Chinese, therefore proficiency in reading both modern and classical Chinese is required. Requirements and Grading: 1. Participation (10%): Participation in the translation and analysis of poems in class is mandatory. Students will need to come to class having read and translated all of the assigned poems and critical literature. 2. Class presentation (20%): Each week a student will be delegated to present on the weekly secondary readings (highlighted in bold). These brief presentations should summarize and analyze the main arguments of the readings and pose questions about them. All other students will read in advance the selected material and be ready to pose questions about the reading. -
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. -
Homophone Density and Word Length in Chinese 1. the Issue
[Type text] [Type text] [Type text] Homophone Density and Word Length in Chinese San Duanmu and Yan Dong Abstract Chinese has many disyllabic words, such as 煤炭 meitan ‘coal’, 老虎 laohu ‘tiger’, and 学习 xuexi ‘study’, most of which can be monosyllabic, too, such as 煤 mei ‘coal’, 虎 hu ‘tiger’, and 学 xue ‘study’. A popular explanation for such length pairs is homophone avoidance, where disyllabic forms are created to avoid homophony among monosyllables. In this study we offer a critical review of arguments for the popular view, which often rely on cross-linguistic comparisons. Then we offer a quantitative analysis of word length pairs in the Chinese lexicon in order to find out whether there is internal evidence for a correlation between homophony and word length. Our study finds no evidence for the correlation. Instead, the percentage of disyllabic words is fairly constant across all degrees of homophony. Our study calls for a reconsideration of the popular view. Alternative explanations are briefly discussed. 1. The issue: elastic word length in Chinese Chinese has many synonymous pairs of word forms, one short and one long. The short one is monosyllabic and the long one is made of the short one plus another morpheme. Since the long form has the same meaning as the short (evidenced by their mutual annotation in the dictionary), the meaning of its extra morpheme is either redundant or lost. Some examples are shown in (1), where Chinese data are transcribed in Pinyin spelling (tones are omitted unless relevant). In each case, the extra part of the long form is shown in parentheses. -
Odinye & Odinye the PLACE of CHINESE LANGUAGE in GLOBALIZATION ORDER Dr. Ifeanyi Sunny Odinye Department of Chinese Studies
Journal of Chinese & African Studies (JOCAS), Vol. 2 No. 1, 2021 (ISSN: 2782-7879) THE PLACE OF CHINESE LANGUAGE IN GLOBALIZATION ORDER Dr. Ifeanyi Sunny Odinye Department of Chinese Studies Nnamdi Azikiwe University, Awka Email: [email protected] & Dr. Ifeoma Ezinne Odinye Department of Chinese Studies Nnamdi Azikiwe University, Awka Email: [email protected] Abstract The Chinese language belongs to a separate branch of the Sino-Tibetan language family. It has many dialect groups which include Mandarin, Wu, Min, Cantonese, Hsiang, and Hakka. The standard variety of Chinese is Mandarin Chinese, popularly called ‘Putonghua’ literally meaning ‘common speech’. The Mandarin Chinese, like other languages across the globe, has criticized the global dominance of English for suppressing other languages and monopolizing the world’s information. English language was promoted in 19th and 20th centuries by Britain and United States. In 21st century, China is seriously promoting Chinese language to contend with the English language. This study is aimed at the promotion of Chinese language in the present globalization order. This research adopts a qualitative research method and secondary source for data collection. This study concludes in agreement with Zheng (2019) that the promotion of Chinese language (and culture) learning by Confucius Institute has been successful in creating a positive image of China and attracting learners despite the challenges and criticisms. The researchers see Mandarin Chinese as the language of the 21st century and recommend it to all and sundry. Keywords: China, Chinese language, Confucius Institute, globilization Introduction The word “China” is derived from Cin, a Persian name for China popularized in medieval Europe by the account of 13th century Venetian explorer Marco Polo. -
Chinese Letter Symbols Translation
Chinese Letter Symbols Translation fazeScrawniest coomb and and tricolor atone veterinaries.Vassily never damnify his marts! Shepard build transcriptionally. Coweringly prosy, Patty The first undertaking was through chinese symbols into the traditional chinese character is that target the strokes, or more trees They agree that it is indeed a bit of hassle to write Chinese by hand, but that has little practical impact because most writing is in electronic form. Do some Chinese Characters have more than one meaning? Fandom may earn an affiliate commission on sales made from links on this page. Mandarin, realy in depth. Chinese learning removed by cracking the seeds in half and congee or used in dishes. Chinese alphabet, the introduction of pinyin is a saving grace for foreigners learning to speak Chinese. As such, having English in Japanese games is really common and almost expected. Why do sailplanes have such large tails? Want to take on a new challenge? Only schedule lessons at a time and date that suit you. In ancient Chinese texts, the Earth Element was often depicted as the center with the other four elements surrounding it. Flowers speak the universal language of beauty, but mere mortals must use words to describe these beautiful things. Thus, Chinese associates this Chinese flower as a lucky symbol of spring festival. Chinese and may be a word on its own or a part of a polysyllabic word. It uses 37 symbols and 4 tone marks to transcribe all inhale the sounds in mandarin The rank four. Over time pictograms were increasingly standardized, simplified, and stylized to make them easier to write. -
The Challenge of Chinese Character Acquisition
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: Department of Teaching, Department of Teaching, Learning and Teacher Learning and Teacher Education Education 2017 The hC allenge of Chinese Character Acquisition: Leveraging Multimodality in Overcoming a Centuries-Old Problem Justin Olmanson University of Nebraska at Lincoln, [email protected] Xianquan Chrystal Liu University of Nebraska - Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/teachlearnfacpub Part of the Bilingual, Multilingual, and Multicultural Education Commons, Chinese Studies Commons, Curriculum and Instruction Commons, Instructional Media Design Commons, Language and Literacy Education Commons, Online and Distance Education Commons, and the Teacher Education and Professional Development Commons Olmanson, Justin and Liu, Xianquan Chrystal, "The hC allenge of Chinese Character Acquisition: Leveraging Multimodality in Overcoming a Centuries-Old Problem" (2017). Faculty Publications: Department of Teaching, Learning and Teacher Education. 239. http://digitalcommons.unl.edu/teachlearnfacpub/239 This Article is brought to you for free and open access by the Department of Teaching, Learning and Teacher Education at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: Department of Teaching, Learning and Teacher Education by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Volume 4 (2017) -
Multimedia Systems Engineering
Dictionaries and ideology: examples from The Contemporary Chinese Dictionary (Xiandai hanyu cidian 现代汉语词典) Chiara Bertulessi Università degli Studi di Milano Email: [email protected] Abstract: Any dictionary-making process involves choices about the selection of words that can be included in (or excluded from) the list of entries as well as about the nature of their definitions (Crowley 2005: 138). As Fishman pointed out (1995: 29), dictionaries are cultural artifacts and, as such, they always tell us something about the characteristics of their compilers, of their intended users as well as of the society and culture to which they belong. In this sense, dictionaries can also be seen from an ideological perspective, i.e. by considering them as potential means of expressions of the dominant ideology (Fairclough 1989) of the specific political, social and cultural context in which the compilation has occurred. The paper discusses the results of a case study conducted on different editions of The Contemporary Chinese Dictionary (Xiandai hanyu cidian 现代汉语词典), one of the most authoritative monolingual Chinese dictionaries, which is compiled by the Institute of Linguistics of the Chinese Academy of Social Sciences. By presenting the analysis of selected entries and definitions, the paper aims at examining if, and to what extent, the several ideological shifts The Contemporary Chinese Dictionary has gone through (Lee 2014: 429) reflect the ideological, political, social and cultural changes that have taken place in the People’s Republic of China during the nearly forty years of its publication (1978 – 2016). References Crowley, T. (2005). Encoding Ireland: Dictionaries and Politics in Irish History. -
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.