The Method of Forming Sociocultural Competence: Hieroglyph As the Culture’S Cognitive Memory

Total Page:16

File Type:pdf, Size:1020Kb

The Method of Forming Sociocultural Competence: Hieroglyph As the Culture’S Cognitive Memory Journal of Siberian Federal University. Humanities & Social Sciences 7 (2012 5) 935-943 ~ ~ ~ УДК 37.014.15 The Method of Forming Sociocultural Competence: Hieroglyph as the Culture’s Cognitive Memory Nadezhda I. Sosnovskaya* Siberian Federal University 82а Svobodny, Krasnoyarsk, 660041 Russia 1 Received 30.12.2011, received in revised form 11.01.2012, accepted 20.02.2012 Chinese writing, ideographic and pictographic, is a part of the linguistic picture of the world and con- cepts conveyed in it on the grammatological level may participate in the formation of social competence as one of the components of intercultural communicative competence. The implication of sociocultural analysis of Chinese hieroglyphics on the basis of the grammatological approach not only will allow lan- guage learners to acquire knowledge about the Chinese hieroglyphic concept sphere, cultural identity, cultural realia both in historical and contemporary perspective, but will also teach them to properly use this cognitive basis in further independent language learning process; such an approach can be viewed as an effective mechanism for memorizing which can promote to activate the mastering of hi- eroglyphic signs due to a relatively easy opportunity for reconstructing the image that is underlying the sociocultural analysis, as well as a method to contribute to the formation of a sustainable motivational component of learning. Keywords: sociocultural competence, intercultural communicative competence, ideogram, phonetic ideogram, grapheme, concept, cognitive approach, grammatological approach, Chinese hieroglyphic picture of the world, concept sphere. Introduction studying foreign languages by the majority Teaching foreign languages has recently of the population. The ability to speak two or become of special national significance in our more foreign languages during the formation of country since a foreign language is not only a the European Union was not only “good form”, means of communication, but also the possibility but rather a good opportunity to quickly find a for personal cultural enrichment of the students, prestigious well-paid job which explains the their professional self-actualization, furthermore fairly active migration of skilled workers in the a successful intercultural communication and early years of EU formation. communication between individual members Methodical science of teaching foreign of society both contribute to the social and languages has also been given a new impetus economic development and political stability of to development under existing conditions, there both individual states and interstate unions. An has been an appeal towards the cross-cultural example is the creation of the European Union paradigm in the study of teaching process and which was preceded by the tendency towards the process of learning foreign languages and * Corresponding author E-mail address: [email protected] 1 © Siberian Federal University. All rights reserved – 935 – Nadezhda I. Sosnovskaya. The Method of Forming Sociocultural Competence: Hieroglyph as the Culture’s… cultures, competence approach and learner- V. A. Bryleva, J. A. Pugacheva, A. N. Annenkov, centered approach to teaching and learning E. S. Dikova). that have finally resulted in a large-scale In modern studies of the formation of reconsideration of a conceptual and categorical intercultural communication competence there apparatus of the methodical science, the nature has been established the definition of this concept of modern means, methods and techniques of which is the ability and willingness of specialists language teaching and the functional load of a to recognize, understand and interpret the native foreign-language teacher. world picture and another picture of the world as they interact with each other and then to build on Intercultural Communicative this basis foreign-language communication with Competence in the Context representatives of a given society (Annenkova, of Language Education 2010). This ability is acquired by language- Defining intercultural communication learners in the process of assigning them a picture competence as the ultimate goal of linguists’ of the world in its close interaction with the native preparation has acquired axiomatic value view on the surrounding world. As a result of this substantiated by a large number of investigators interaction complex cross-cultural knowledge by the moment (E. G. Tareva, G. V. Elizarova, is formed in the minds of language-learners N. D. Galskova, B. P. Furmanov, N. Gez, I. L (specific cognitive structure) which is actualized Pluzhnik, S. G. Ter-Minasova), this phenomenon in the process of intercultural communication in is also widely studied by foreign scientists order to achieve mutual understanding. It is the (M. Byram, A. E Fantini, Y. Kim, J. Koester, very competence that inheres in the ‘secondary J. Stier, R. L. Wiseman). This competence was linguistic identity’ (I. I. Khaleeva), which is the established on the basis of foreign language main focus of the learning process in a language communicative competence proposed by Jan Ate institute of higher education. In recent studies van Ek who in turn singled out in its structure in the structure of intercultural communicative the following sub-components: linguistic, competence viewed herein as an integration of sociolinguistic, discoursal competence, foreign language communicative competence strategic, socio-cultural and social. In the study and intercultural competence the following by G. V. Yelizarova the need for introducing competencies have been marked out: the term ‘intercultural competence’ is being linguistic – willingness and ability substantiated, intercultural aspect within each to produce and interpret meaningful sub-competence as a part of intercultural utterances of the studied language with competence is being educed thus modifying regard to the knowledge about ways to the content of the latter and adding to them an express value orientations in relation to intercultural dimension (Yelizarova, 2005). On the the mother tongue; grounds of the studies mentioned above, in recent sociolinguistic – awareness of the years there has appeared and has been subjected selection and use of linguistic resources, to intensive in-depth research the intercultural taking into account the relevance of the communicative competence, represented as an social context of communication in a integration of the two competencies such as foreign language; foreign language communicative competence strategic – ability and willingness to and intercultural competence (T. Larin, overcome linguistic and psychological – 936 – Nadezhda I. Sosnovskaya. The Method of Forming Sociocultural Competence: Hieroglyph as the Culture’s… difficulties with verbal and nonverbal The ability to distinguish cultural values communication strategies in the process by monitoring the bearers of other languages of intercultural communication; and cultures and interacting with them without social – the ability and willingness to referring to them with direct questions (as in interact with native language users of most cases they are simply unable to give an a studied foreign language, to manage adequate response due to the unconscious nature social situations in order to achieve of the commitment to the values of their native common communicative goals; culture) is also one part of language-learners’ discoursive – the ability to choose and social competence, the formation of which would to use suitable strategies for making make it possible to avoid such an interference and interpreting texts in the process of (Yelizarova, 2005). intercultural communication; Relying on the analysis of different sociocultural – knowledge about interpretations of the sociocultural competence universal and culture-specific values of (SCC), the following of its components may be the target language culture, forms and evolved: ways of translating them into verbal and knowledge of the system of universal nonverbal picture of the world. cultural values; The components of intercultural knowledge of the value system of a native communicative competence have a mutual culture, forms and methods of their display i n fluence upon each ot her: d iscou rsive competence in public institutions, linguistic picture viewed as a competence responsible for building of the world, models of human behavior, up speech acts is inseparable from the linguistic, verbal and nonverbal communication social and other competencies that are all within etc.; a relationship of mutual penetration. Intercultural knowledge of the principles of interaction competence is also a component that operates on all between cultural beliefs, norms and levels or units of the communicative competence. stereotypes in different manifestations of Over time some linguistic phenomena can receive culture clash; additional cultural connotations. A bright example knowledge of the cultural values of a may be the appearance of a car model known as studied language, forms and methods ‘’ё-Mobile’’ on the automotive market in Russia of their display in public institutions, when the creators of the brands, apparently, linguistic picture of the world, models of wanted to give an answer to the entire world human behavior, verbal and non-verbal market by selecting one letter from the Russian communication etc.; alphabet which is not found in other languages and recognition of the fact that different has quite a bright connotative meaning. However, cultural models
Recommended publications
  • Concretismo and the Mimesis of Chinese Graphemes
    Signmaking, Chino-Latino Style: Concretismo and the Mimesis of Chinese Graphemes _______________________________________________ DAVID A. COLÓN TEXAS CHRISTIAN UNIVERSITY Concrete poetry—the aesthetic instigated by the vanguard Noigandres group of São Paulo, in the 1950s—is a hybrid form, as its elements derive from opposite ends of visual comprehension’s spectrum of complexity: literature and design. Using Dick Higgins’s terminology, Claus Clüver concludes that “concrete poetry has taken the same path toward ‘intermedia’ as all the other arts, responding to and simultaneously shaping a contemporary sensibility that has come to thrive on the interplay of various sign systems” (Clüver 42). Clüver is considering concrete poetry in an expanded field, in which the “intertext” poems of the 1970s and 80s include photos, found images, and other non-verbal ephemera in the Concretist gestalt, but even in limiting Clüver’s statement to early concrete poetry of the 1950s and 60s, the idea of “the interplay of various sign systems” is still completely appropriate. In the Concretist aesthetic, the predominant interplay of systems is between literature and design, or, put another way, between words and images. Richard Kostelanetz, in the introduction to his anthology Imaged Words & Worded Images (1970), argues that concrete poetry is a term that intends “to identify artifacts that are neither word nor image alone but somewhere or something in between” (n/p). Kostelanetz’s point is that the hybridity of concrete poetry is deep, if not unmitigated. Wendy Steiner has put it a different way, claiming that concrete poetry “is the purest manifestation of the ut pictura poesis program that I know” (Steiner 531).
    [Show full text]
  • Emojis and Ancient Egyptian Hieroglyphs
    Emojis and Ancient Egyptian Hieroglyphs Emojis are often compared to Egyptian hieroglyphs because both use pictures to express meaning. However, Egyptian hieroglyphs were a writing system like the alphabet you are reading now and could be used to write anything. Instead of using letters for sounds, the ancient Egyptians used signs (pictures). Emojis are used differently. They add extra meaning to writing, a bit like how tone of voice and gestures add extra meaning when we’re speaking. You could write this paragraph using the emoji-alphabet at the top of the answer sheet, but that’s not how emojis are normally used. Aside from using signs instead of letters, there are lots of differences between the Scots and English writing systems and the ancient Egyptian one. For example, Egyptian hieroglyphs could be written either right to left or left to right and were often written in columns from top to bottom. Hieroglyphic writing didn’t use vowels. The name for this sort of writing system is an abjad. You can write out English and Scots with an abjad rather than an alphabet and still understand it without too much difficulty. For example: Ths sntnc sn’t vry hrd t rd. The biggest difference between alphabetic writing systems and the ancient Egyptian one is that in hieroglyphic writing a sign could be used in three ways. It could be used as a word (ideogram); as a sound (phonogram); or as an idea-sign (determinative) to make things easier to understand. For example, could be used as an ideogram for the word ‘bee’; as a phonogram for the first sound in ‘belief’; or as a determinative added to the end of the word ‘hive’ to distinguish it from ‘have’ and ‘heave’, which would all be written the same: hv.
    [Show full text]
  • A STUDY of WRITING Oi.Uchicago.Edu Oi.Uchicago.Edu /MAAM^MA
    oi.uchicago.edu A STUDY OF WRITING oi.uchicago.edu oi.uchicago.edu /MAAM^MA. A STUDY OF "*?• ,fii WRITING REVISED EDITION I. J. GELB Phoenix Books THE UNIVERSITY OF CHICAGO PRESS oi.uchicago.edu This book is also available in a clothbound edition from THE UNIVERSITY OF CHICAGO PRESS TO THE MOKSTADS THE UNIVERSITY OF CHICAGO PRESS, CHICAGO & LONDON The University of Toronto Press, Toronto 5, Canada Copyright 1952 in the International Copyright Union. All rights reserved. Published 1952. Second Edition 1963. First Phoenix Impression 1963. Printed in the United States of America oi.uchicago.edu PREFACE HE book contains twelve chapters, but it can be broken up structurally into five parts. First, the place of writing among the various systems of human inter­ communication is discussed. This is followed by four Tchapters devoted to the descriptive and comparative treatment of the various types of writing in the world. The sixth chapter deals with the evolution of writing from the earliest stages of picture writing to a full alphabet. The next four chapters deal with general problems, such as the future of writing and the relationship of writing to speech, art, and religion. Of the two final chapters, one contains the first attempt to establish a full terminology of writing, the other an extensive bibliography. The aim of this study is to lay a foundation for a new science of writing which might be called grammatology. While the general histories of writing treat individual writings mainly from a descriptive-historical point of view, the new science attempts to establish general principles governing the use and evolution of writing on a comparative-typological basis.
    [Show full text]
  • Chapter 6, Writing Systems and Punctuation
    The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1.
    [Show full text]
  • Computational Pattern Recognition in Linear a Jajwalya Karajgikar, Amira Al-Khulaidy, Anamaria Berea
    Computational Pattern Recognition in Linear A Jajwalya Karajgikar, Amira Al-Khulaidy, Anamaria Berea To cite this version: Jajwalya Karajgikar, Amira Al-Khulaidy, Anamaria Berea. Computational Pattern Recognition in Linear A. In press. hal-03207615 HAL Id: hal-03207615 https://hal.archives-ouvertes.fr/hal-03207615 Preprint submitted on 26 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Computational Pattern Recognition in Linear A Jajwalya R. Karajgikar1*, Amira Al-Khulaidy 2 , Anamaria Berea3 1 Computational Sciences, MS, George Mason University 2 Computational Social Sciences, PhD student, George Mason University 3 Computational and Data Sciences, Associate Professor, George Mason University *Corresponding author: Jajwalya R. Karajgikar1 Abstract Linear A is an ancient Mycenaean Greek language that is as of yet undeciphered. Computational analysis of the symbols using natural language processing and data mining techniques can aid to better understand this logogram language, and to help us uncover interesting statistical and information-theoretic patterns even without deciphering the language. Using information theory and data science techniques, we show an exploratory analysis of these symbols. We use n-gram analysis to summarize and predict the possible symbols on lost stone tablets, while symbols are clustered by topic modeling as well as k-means, for comparison.
    [Show full text]
  • COX-DISSERTATION-2018.Pdf (5.765Mb)
    Copyright Copyright by Benjamin Davis Cox 2018 Signature Page The Dissertation Committee for Benjamin Davis Cox certifies that this is the approved version of the following dissertation: Gods Without Faces Childhood, Religion, and Imagination in Contemporary Japan Committee: ____________________________________ John W. Traphagan, Supervisor ____________________________________ A. Azfar Moin ____________________________________ Oliver Freiberger ____________________________________ Kirsten Cather Title Page Gods Without Faces Childhood, Religion, and Imagination in Contemporary Japan by Benjamin Davis Cox Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2018 Dedication For my mother, who tirelessly read all of my blasphemies, but corrected only my grammar. BB&tt. Acknowledgments Fulbright, CHLA This research was made possible by the Fulbright-Hays Doctoral Dissertation Fellowship, a Hannah Beiter Graduate Student Research Grant from the Children’s Literature Association, and a grant from the Mitsubishi Heavy Industries Endowment in the College of Liberal Arts, University of Texas at Austin. I would additionally like to thank Waseda University for sponsoring my research visa, and in particular Glenda Roberts for helping secure my affiliation. Thank you to the members of my committee—John Traphagan, Azfar Moin, Oliver Freiberger, and Kirsten Cather—for their years of support and intellectual engagement, and to my ‘grand-advisor’ Keith Brown, whose lifetime of work in Mizusawa opened many doors to me that would otherwise have remained firmly but politely shut. I am deeply indebted to the people of Mizusawa for their warmth, kindness, and forbearance.
    [Show full text]
  • Pictographs, Ideograms, and Alphabets in the Work of Paul Klee
    Pictographs, Ideograms, and Alphabets in the Work of Paul Klee J ames Smith Pierce Paul Klee (1879-1940), the Swiss artist who taught at the German Bauhaus, used ancient and modern p ictographs and alphabets in many of his paint­ ings and drawings. The d iscreet characters of the various systems of writi ng were well adapted to Klee's unusual additive technique by which he retained the expressive purity o[ the formal elements. In the 191O's and 1920's, Klee used roman letters to construct abstract formal pauerns, but in the 1930's he reanimated the conventional symbols of the alphabet, turning them into active representational fi gures suggestive of their pictographic origins. His most revolutionary achievement was the invention of bold ideograms, com­ bining different pictographic schemata in a set of double images which enrich a basic idea through chains of associated ideas, thus altering the notion of a picture as representing a scene fix ed in time and space. Paul Klee's interest in ancient systems of writing is obvious from his work and has frequently been commented upon, espe­ cially in discussions of the schematic drawings and paintings of the 1930's_! At a time when such bold images were not as fash­ ionable as they are at present, some attributed this development to the scleroderma that slow ly sapped his strength and finally, in 1940, stopped his heart. H owever , one can point to parallel de­ velopments in the work of his contemporaries-Mira, Picasso, and Matisse-and, curiously, in the very history of image making it­ self, as writing emerged from simple picture-making.
    [Show full text]
  • The Alphabet Tree Dren’S Puzzles
    TUGboat, Volume 26 (2005), No. 3 199 A major intellectual step was the invention of Philology the rebus device. This is where the sounds cor- responding to pictograms are combined to form a word. We have all come across these, often as chil- The alphabet tree dren’s puzzles. For example, a picture of a bee Peter Wilson plus a picture of a tray can represent the word ‘be- tray’, or more obscurely a picture of a bee plus a 1 Introduction picure of a female deer can stand for the word ‘be- We got from via Akn and ’ k n to hind’. Even a single pictogram can suffice; for in- XPD stance a pictogram of the sun can be used for both ` k p A K N, and and @ ¼ à in only about 2000 the words ‘sun’ and ‘son’. Consequently symbols years. This is a short story of how that happened can be created that just stand for sounds and then and how we know what the strange symbols mean, they can be combined to form words. This can a k n a k n e.g., and . The fonts in all the markedly reduce the number of symbols required for examples were designed for use with TEX, especially a full writing system. Symbols representing sounds by humanities scholars, and are freely available. are called phonograms. Phonetic writing requires 1.1 Writing systems few glyphs. In these writing systems, the glyphs represent sounds. All writing systems are a com- The earliest known writing is from Sumeria dating bination of phonetic and logographic elements but from about 3400 bc.
    [Show full text]
  • Abjad 1 Abjad Numerals 6 References Article Sources and Contributors 9 Image Sources, Licenses and Contributors 10 Article Licenses License 11 Abjad 1 Abjad
    al-ʾAbǧad Two Wikipedia Articles PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 30 Sep 2013 21:20:08 UTC Contents Articles Abjad 1 Abjad numerals 6 References Article Sources and Contributors 9 Image Sources, Licenses and Contributors 10 Article Licenses License 11 Abjad 1 Abjad An abjad is a type of writing system where each symbol always or usually stands for a consonant, leaving the reader to supply the appropriate vowel. It is a term suggested by Peter T. Daniels to replace the common terms "consonantary", "consonantal alphabet" or "syllabary" to refer to the family of scripts called West Semitic. Abjad is thought to be based on the first letters (a,b,ǧ,d) found in all Semitic language such as Phoenician, Syriac, Hebrew, and Arabic. In Arabic, "A" (ʾAlif), "B" (Bāʾ), "Ǧ" (Ǧīm), "D" (Dāl) make the word "abjad" which means "alphabet". The modern Arabic word for "alphabet" and "abjad" is interchangeably either "abajadeyyah" or "alefbaaeyyah". The word "alphabet" in English has a source in Greek language in which the first two letters were "A" (alpha) and "B" (beta), hence "alphabeta" (in Spanish, "alfabeto", but also called "abecedario", from "a" "b" "c" "d"). In Hebrew the first two letters are "A" (Aleph), "B" (Bet) hence "alephbet." It is also used to enumerate a list in the same manner that "a, b, c, d" (etc.) are used in the English language. Writing systems • History • Grapheme • List of writing systems Types • Featural alphabet • Alphabet • Abjad • Abugida • Syllabary • Logography • Shorthand Related topics • Pictogram • Ideogram Etymology is derived from pronouncing the first letters of the Arabic alphabet in order.
    [Show full text]
  • Two Advantages to a Writing System: 1
    LING 110 Chapter IV: The Alphabet • Introduction – One of the most important inventions in human history. – Two Advantages to a writing system: 1. Allows us to communicate with others outside of shouting range. 2. An extension to our memory. Ling 110 Chapter IV: The Alphabet 1 LING 110 The History of Writing • There are many legends and stories about the invention of writing. – Greek Legend: Cadmus, prince of Phoenicia and founder of the city of Thebes, invented the alphabet and brought it with him to Greece. – Chinese Fable: the four-eyed dragon-god Cang Jie invented writing. – Icelandic Saga: Odin was the inventor or runic script. Ling 110 Chapter IV: The Alphabet 2 LING 110 The History of Writing con’t • However, it is evident that, before a single word wa written, uncountable billions were spoken. • Therefore, it is unlikely that a particularly gifted ancestor awoke one morning and decided, “Today I’ll invent a writing system.” • In fact, the invention of writing systems comes relatively late in human history, and its development was gradual. Ling 110 Chapter IV: The Alphabet 3 DifferentDifferent TypesTypes ofof WritingWriting SystemsSystems Different Writing Systems • We can distinguish among a number of different writing systems based on what the symbols represent. 1. Petroglyphs: • Cave drawings, drawn by people living more than 20, 000 years ago, can still be ‘read’ today. • They are literal portrayals of life at that time. • They may be aesthetic expressions rather than pictorial communications. • Example: Altamira cave in northern Spain. Ling 110 Chapter IV: The Alphabet 4 DifferentDifferent TypesTypes ofof WritingWriting SystemsSystems 2.
    [Show full text]
  • Edward L. Shaughnessy Chinese Annals in the Western Observatory Library of Sinology
    Edward L. Shaughnessy Chinese Annals in the Western Observatory Library of Sinology Editors Zhi Chen, Dirk Meyer Executive Editor Adam C. Schwartz Editorial Board Wolfgang Behr, Marc Kalinowski, Hans van Ess, Bernhard Fuehrer, Anke Hein, Clara Wing-chung Ho, Maria Khayutina, Michael Lackner, Yuri Pines, Alain Thote, Nicholas Morrow Williams Volume 4 Edward L. Shaughnessy Chinese Annals in the Western Observatory An Outline of Western Studies of Chinese Unearthed Documents The publication of the series has been supported by the HKBU Jao Tsung-I Academy of Sinology — Amway Development Fund. ISBN 978-1-5015-1693-1 e-ISBN [PDF] 978-1-5015-1694-8 e-ISBN [EPUB] 978-1-5015-1710-5 ISSN 2625-0616 This work is licensed under the Creatice Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to https://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2019953355 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Shaughnessy/JAS, published by Walter de Gruyter Inc., Boston/Berlin Printing and binding: CPI books GmbH, Leck www.degruyter.com Dedicated to the memory of LI Xueqin 李學勤 (1933-2019) 南山有杞,北山有李。 樂只君子,德音不已。 On South Mountain is a willow, On North Mountain is a plum tree. Such joy has the noble-man brought, Sounds of virtue never ending. CONTENTS LIST OF FIGURES | XI PREFACE TO THE CHINESE EDITION |
    [Show full text]
  • A History of Symbols
    A History of Symbols http://www.designhistory.org/symbols.html > Symbols have been used to show ownership, group affiliations and to signify who made a particular object. They convey direct information or can carry quiet subliminal messages. These images are edited selections from class slide lectures. Reading this page is not a substitute for attending class. A Symbol Primer 1. 1. 2. 3. Pictograms Pictograms Rebus Ideogram A pictogram is an image that Chinese is composed entirely of The rebus is a pictorial image that An ideogram is a character or symbol represents an object. Pictograms are pictograms, a system of writing used by represents a spoken sound. Today the representing a complete idea useful for conveying information more than any other in the world. rebus is mostly used for amusement without expressing the pronunciation of through a common "visual language" (About 1 billion Chinese speakers however it was a critical link in the a particular word or words for it. able to be understood regardless of compared to 350 million English development of the phonetic Above, an ideogram demonstrates the one's native language or degree of speakers). To be literate in Chinese alphabet starting in Egyptian perils of tipping a vending machine. literacy. So that means that anyone in requires knowledge of several thousand hieroglyphics. (See the "Development (Image from Warning by Nicole the world familiar with a drinking of the over 80,000 Chinese pictograms of Handwriting" on this site). Recchia) fountain should recognize the — although about 3,500 are most pictogram above. commonly used. The pictogram above Shown above are two famous rebus Below is the familiar request to not is Chinese for world peace logos from the 20th century.
    [Show full text]