Buddhist Impact on Chinese Language Guang Xing
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Characteristics of Chinese Poetic-Musical Creations
Characteristics of Chinese Poetic-Musical Creations Yan GENG1 Abstract: The present study intoduces a series of characteristics related to Chinese poetry. It shows that, together with rhythmical structure and intonation (which has a crucial role in conveying meaning), an additional, fundamental aspect of Chinese poetry lies in the latent, pictorial effect of the writing. Various genres and forms of Chinese poetry are touched upon, as well as a series of figures of speech, themes (nature, love, sadness, mythology etc.) and symbols (particularly of vegetal and animal origin), which are frequently encountered in the poems. Key-words: rhythm, intonation, system of tones, rhyme, system of writing, figures of speech 1. Introduction In his Advanced Music Theory course, &RQVWDQWLQ 5kSă VKRZV WKDW ³we can differentiate between two levels of the phenomenon of rhythm: the first, a general philosophical one, meaning, within the context of music, the ensemble of movements perceived, thus the macrostructural level; the second, the micro-VWUXFWXUH ZKHUH UK\WKP PHDQV GXUDWLRQV « LQWHQVLWLHVDQGWHPSR « 0RUHRYHUZHFDQVD\WKDWUK\WKPGRHVQRWH[LVWEXWUDWKHUMXVW the succession of sounds in time [does].´2 Studies on rhythm, carried out by ethno- musicology researchers, can guide us to its genesis. A first fact that these studies point towards is the indissoluble unity of the birth process of artistic creation: poetry, music (rhythm-melody) and dance, which manifested syncretically for a very lengthy period of time. These aspects are not singular or characteristic for just one culture, as it appears that they have manifested everywhere from the very beginning of mankind. There is proof both in Chinese culture, as well as in ancient Romanian culture, that certifies the existence of a syncretic development of the arts and language. -
A Cultural-Translation Study of Paratexts Via Victor H. Mair's
Compilation and Translation Review Vol. 11, No. 2 ( September 2018 ), 61 - 98 A Cultural-Translation Study of Paratexts via Victor H. Mair’s English Translation of the Tao Te Ching Chih-hong Rudy Chen This paper looks at the authoritative sinologist and philologist Victor H. Mair’s English translation of the Tao Te Ching. It examines Mair’s use of paratexts to support his cross-cultural transfer of such highly Chinese-culture-bound religious and philosophical terms as Tao, Te and Ching from the Chinese source text into English. More specifically, it looks at Mair’s interpretative assumptions as well as methodologies. This brings into play several relevant issues with regard to the role of cultural translation within the wider field of translation studies. Firstly, the paper explores Kwame Anthony Appiah’s “thick translation” approach, and such cross-cultural linguistic practices as the use of annotations and of other forms of scholarly paratexts, in order that (in Appiah’s words) an “academic’ translation” is produced. Secondly, selected elements of these paratexts are examined in the light of André Lefevere’s notion of ideology and Lawrence Venuti’s notions of foreignization and visibility, to help us better understand the external factors requiring Mair’s careful considerations in the “transaction” of meaning across languages and cultures. This cultural translation study on Mair’s translation of the Tao Te Ching with extensive preface, annotations and back matter seeks to shed light, then, on the depth and complexity of the art of cultural-translation, itself so vital to cross-cultural understanding. Keywords : Tao Te Ching, thick translation, cultural translation, paratexts, ideology Received: July 14, 2017 Revised: Feburary 12, 2018, June 22, 2018 Accepted: June 27, 2018 Chih-hong Rudy Chen, PhD Candidate, Graduate Institute of Translation and Interpretation, National Taiwan Normal University, E-mail: [email protected] 編譯論叢 第十一卷 第二期(2018年9月 ), 61 — 98 梅維恆《道德經》英譯:副文本之文化翻譯探討 陳致宏 本文透過觀察當代權威漢學家及文字學家梅維恆(Victor H. -
What Is Time?: Yogācāra-Buddhist Meditation on the Problem of the External World in the Treatise on the Perfection of Consciousness-Only (Cheng Weishi Lun)
DOI: 10.4312/as.2016.4.1.35-57 35 What is Time?: Yogācāra-Buddhist Meditation on the Problem of the External World in the Treatise on the Perfection of Consciousness-only (Cheng weishi lun) Jianjun LI*1 Abstract Because it asserts that there is consciousness-only (vijñapti-mātratā), the difficulty in philo- sophically approaching the Yogācāra-Buddhist text Cheng weishi lun centers on the problem of the external world. This paper is based on a review by Lambert Schmithausen that, specif- ically with regard to the problem of the external world, questions Dan Lusthaus’s phenom- enological investigation of the CWSL. In it I point out that the fundamental temporality of consciousness brought to light by the Yogacaric revelation of the incessant differentiation of consciousness (vijñāna-parināma� ) calls into question every temporally conditioned, and hence appropriational, understanding of vijñapti-mātratā. Therefore, the problem of the external world cannot be approached without taking into account the temporality of con- sciousness, which, furthermore, compels us to face the riddle of time. Keywords: time, vijñapti-mātratā, Cheng weishi lun, Dan Lusthaus, Lambert Schmithausen Izvleček Budistično jogijsko besedilo Cheng weishi lun zagovarja trditev, da obstaja samo zavest (vijñapti-mātratā), zato se filozofski pristop tega besedila usmeri na problem zunanjega sveta. Ta članek temelji na recenziji Lamberta Schmithasena, ki se ob upoštevanju prob- lema zunanjega sveta ukvarja s fenomenološkimi preiskavami CWSL-ja Dana Lusthausa. V njem sem poudaril, da je zaradi odvisnosti zavesti od časa, ki jo poudarja razodevanje nenehnega spreminjanja zavesti pri jogi (vijñāna-parināma� ), vprašljivo vsako časovno po- gojeno, in zato večkrat prisvojeno, razumevanje pojma vijñapti-mātratā. -
Introduction
Introduction In March 1949, when Mao Zedong set out for Beijing from Xibaipo, the remote village where he had lived for the previous ten months, he took along four printed texts. Included were the Shiji (Records of the Grand Historian, c. 100 BCE) and the Zizhi tongjian (Comprehensive Mirror for Aid in Government, c. 1050 CE), two works that had been studied for centuries by emperors, statesmen, and would-be conquerors. Along with these two historical works, Mao packed two modern Chinese dictionaries, Ciyuan (The Encyclopedic Dictionary, first published by the Commercial Press in 1915) and Cihai (Ocean of Words, issued by Zhonghua Books in 1936- 37).1 If the two former titles, part of the standard repertoire regularly re- printed by both traditional and modern Chinese publishers, are seen as key elements of China’s broadly based millennium-old print culture, then the presence of the two latter works symbolizes the singular intellectual and political importance of two modern industrialized publishing firms. Together with scores of other innovative Shanghai-based printing and publishing enterprises, these two corporations shaped and standardized modern Chi- nese language and thought, both Mao’s and others’, using Western-style printing and publishing operations of the sort commonly traced to Johann Gutenberg.2 As Mao, who had once organized a printing workers’ union, understood, modern printing and publishing were unimaginable without the complex of revolutionary technologies invented by Gutenberg in the fifteenth century. At its most basic level, the Gutenberg revolution involved the adaptation of mechanical processes to the standardization and duplication of texts using movable metal type and the printing press. -
Syllabus 1 Lín Táo 林燾 and Gêng Zhènshëng 耿振生
CHINESE 542 Introduction to Chinese Historical Phonology Spring 2005 This course is a basic introduction at the graduate level to methods and materials in Chinese historical phonology. Reading ability in Chinese is required. It is assumed that students have taken Chinese 342, 442, or the equivalent, and are familiar with articulatory phonetics concepts and terminology, including the International Phonetic Alphabet, and with general notions of historical sound change. Topics covered include the periodization of the Chinese language; the source materials for reconstructing earlier stages of the language; traditional Chinese phonological categories and terminology; fânqiè spellings; major reconstruction systems; the use of reference materials to determine reconstructions in these systems. The focus of the course is on Middle Chinese. Class: Mondays & Fridays 3:30 - 5:20, Savery 335 Web: http://courses.washington.edu/chin532/ Instructor: Zev Handel 245 Gowen, 543-4863 [email protected] Office hours: MF 2-3pm Grading: homework exercises 30% quiz 5% comprehensive test 25% short translations 15% annotated translation 25% Readings: Readings are available on e-reserves or in the East Asian library. Items below marked with a call number are on reserve in the East Asian Library or (if the call number starts with REF) on the reference shelves. Items marked eres are on course e-reserves. Baxter, William H. 1992. A handbook of Old Chinese phonology. (Trends in linguistics: studies and monographs, 64.) Berlin and New York: Mouton de Gruyter. PL1201.B38 1992 [eres: chapters 2, 8, 9] Baxter, William H. and Laurent Sagart. 1998 . “Word formation in Old Chinese” . In New approaches to Chinese word formation: morphology, phonology and the lexicon in modern and ancient Chinese. -
A Distant Mirror. Articulating Indic Ideas in Sixth and Seventh Century
Index pp. 535–565 in: Chen-kuo Lin / Michael Radich (eds.) A Distant Mirror Articulating Indic Ideas in Sixth and Seventh Century Chinese Buddhism Hamburg Buddhist Studies, 3 Hamburg: Hamburg University Press 2014 Imprint Bibliographic information published by the Deutsche Nationalbibliothek (German National Library). The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the internet at http://dnb.d-nb.de. The online version is available online for free on the website of Hamburg University Press (open access). The Deutsche Nationalbibliothek stores this online publication on its Archive Server. The Archive Server is part of the deposit system for long-term availability of digital publications. Available open access in the Internet at: Hamburg University Press – http://hup.sub.uni-hamburg.de Persistent URL: http://hup.sub.uni-hamburg.de/purl/HamburgUP_HBS03_LinRadich URN: http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:gbv:18-3-1467 Archive Server of the Deutsche Nationalbibliothek – http://dnb.d-nb.de ISBN 978-3-943423-19-8 (print) ISSN 2190-6769 (print) © 2014 Hamburg University Press, Publishing house of the Hamburg State and University Library Carl von Ossietzky, Germany Printing house: Elbe-Werkstätten GmbH, Hamburg, Germany http://www.elbe-werkstaetten.de/ Cover design: Julia Wrage, Hamburg Contents Foreword 9 Michael Zimmermann Acknowledgements 13 Introduction 15 Michael Radich and Chen-kuo Lin Chinese Translations of Pratyakṣa 33 Funayama Toru -
Downloaded from Brill.Com10/04/2021 08:34:09AM Via Free Access Bruce Rusk: Old Scripts, New Actors 69
EASTM 26 (2007): 68-116 Old Scripts, New Actors: European Encounters with Chinese Writing, 1550-1700* Bruce Rusk [Bruce Rusk is Assistant Professor of Chinese Literature in the Department of Asian Studies at Cornell University. From 2004 to 2006 he was Mellon Humani- ties Fellow in the Asian Languages Department at Stanford University. His dis- sertation was entitled “The Rogue Classicist: Feng Fang and his Forgeries” (UCLA, 2004) and his article “Not Written in Stone: Ming Readers of the Great Learning and the Impact of Forgery” appeared in The Harvard Journal of Asi- atic Studies 66.1 (June 2006).] * * * But if a savage or a moon-man came And found a page, a furrowed runic field, And curiously studied line and frame: How strange would be the world that they revealed. A magic gallery of oddities. He would see A and B as man and beast, As moving tongues or arms or legs or eyes, Now slow, now rushing, all constraint released, Like prints of ravens’ feet upon the snow. — Herman Hesse1 Visitors to the Far East from early modern Europe reported many marvels, among them a writing system unlike any familiar alphabetic script. That the in- habitants of Cathay “in a single character make several letters that comprise one * My thanks to all those who provided feedback on previous versions of this paper, especially the workshop commentator, Anthony Grafton, and Liam Brockey, Benjamin Elman, and Martin Heijdra as well as to the Humanities Fellows at Stanford. I thank the two anonymous readers, whose thoughtful comments were invaluable in the revision of this essay. -
The Chinese Script T � * 'L
Norman, Jerry, Chinese, Cambridge: Cambridge University Press, 1988. 1 3.1 Th e beginnings of Chinese writing 59 3 FISH HORSE ELEPHANT cow (yu) (m ii) (xiimg) (niu) " The Chinese script t � * 'l Figure 3.1. Pictographs in early Chinese writing 3.1 The beginnings of Chinese writing1 The Chinese script appears as a fully developed writing system in the late Shang .dynasty (fourteenth to eleventh centuries BC). From this period we have copious examples of the script inscribed or written on bones and tortoise shells, for the most part in the form of short divinatory texts. From the same period there also Figure 3.2. The graph fo r quiin'dog' exist a number of inscriptions on bronze vessels of various sorts. The former type of graphic record is referred to as the oracle bone script while the latter is com of this sort of graph are shown in Figure 3.1. The more truly representational a monly known· as the bronze script. The script of this period is already a fully graph is, the more difficult and time-consuming it is to depict. There is a natural developed writing system, capable of recording the contemporary Chinese lan tendency for such graphs to become progressively simplified and stylized as a guage in a complete and unambiguous manner. The maturity of this early script writing system matures and becomes more widely used. As a result, pictographs has suggested to many scholars that it must have passed through a fairly long gradually tend to lose their obvious pictorial quality. The graph for qui'in 'dog' period of development before reaching this stage, but the few examples of writing shown in Figure 3.2 can serve as a good illustration of this sort of development. -
Japanization in the Field of Classical Chinese Dictionaries
Title Japanization in the Field of Classical Chinese Dictionaries Author(s) Ikeda, Shoju Citation Journal of the Graduate School of Letters, 6, 15-25 Issue Date 2011-03 Doc URL http://hdl.handle.net/2115/44945 Type bulletin (article) File Information JGSL6-2.pdf Instructions for use Hokkaido University Collection of Scholarly and Academic Papers : HUSCAP Journal of the Graduate School of Letters,Hokkaido University Vol.6;pp.15-25,March 2011 15 Japanization in the Field of Classical Chinese Dictionaries Shoju IKEDA Abstract:How did dictionaries arranged by radical undergo Japanization?In the following I shall take up for consideration the Tenrei bansh썚omeigi,Shinsenjiky썚o,and Ruiju my썚ogi sh썚oand consider this question by examining in particular their relationship with the original version of the Chinese Yupian,compiled in 543 by Gu Yewang of the Liang.There is much that needs to be said about early Japanese dictionaries.In this paper I have focused on their relationship with the Yupian and have discussed questions such as its position as a source among Buddhist monks and its connections with questions pertaining to radicals,in particular the manner in which the arrangement of characters under individual radicals in the Yupian was modified. (Received on December 7,2010) 1.Dictionaries Arranged According to the Shape,Sound and Meaning of Chinese Characters and the Compilation of Early Dictionaries in Japan When considered in light of extant dictionaries,it would seem that dictionaries arranged by radical or classifier(shape)appeared first,followed by dictionaries arranged by meaning,and that dictionaries arranged by pronunciation(sound)came some time later. -
The Phonological Domain of Tone in Chinese: Historical Perspectives
THE PHONOLOGICAL DOMAIN OF TONE IN CHINESE: HISTORICAL PERSPECTIVES by Yichun Dai B. A. Nanjing University, 1982 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGRFE OF MASTER OF ARTS In the pepartment of Linguistics @ Yichun Dai 1991 SIMON FRASER UNIVERSITY July 1991 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME: Yichun Dai DEGREE: Master of Arts (Linguistics) TITLE OF THESIS : The Phonological Domain of Tone in Chinese: Historical Perspectives EXAMINING COMMITTEE: Chairman: Dr. R. C. DeArmond ----------- Dr. T. A. Perry, Senior ~aisor Dr. N. J. Lincoln - ................................... J A. Edmondson, Professor, Department of foreign Languages and Linguistics, University of Texas at Arlington, External Examiner PARTIAL COPYR l GHT L l CENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University L ibrary, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. Title of Thesis/Project/Extended Essay Author: (signature) (name 1 Abstract This thesis demonstrates how autosegmental licensing theory operates in Chinese. -
Department of South Asian Languages and Civilizations 1
Department of South Asian Languages and Civilizations 1 Department of South Asian Languages and Civilizations Chair • Whitney Cox Professors • Muzaffar Alam - Director of Graduate Studies • Dipesh Chakrabarty • Ulrike Stark • Gary Tubb Associate Professors • Whitney Cox • Thibaut d’Hubert • Sascha Ebeling • Rochona Majumdar Assistant Professors • Andrew Ollett • Tyler Williams - Director of Undergraduate Studies Visiting Professors • E. Annamalai Associated Faculty • Daniel A. Arnold (Divinity School) • Christian K. Wedemeyer (Divinity School) Instructional Professors • Mandira Bhaduri • Jason Grunebaum • Sujata Mahajan • Timsal Masud • Karma T. Ngodup Emeritus Faculty • Wendy Doniger • Ronald B. Inden • Colin P. Masica • C. M. Naim • Clinton B.Seely • Norman H. Zide The Department The Department of South Asian Languages and Civilizations is a multidisciplinary department comprised of faculty with expertise in the languages, literatures, histories, philosophies, and religions of South Asia. The examination of South Asian texts, broadly defined, is the guiding principle of our Ph.D. degree, and the dissertation itself. This involves acquaintance with a wide range of South Asian texts and their historical contexts, and theoretical reflection on the conditions of understanding and interpreting these texts. These goals are met through departmental seminars and advanced language courses, which lead up to the dissertation project. The Department admits applications only for the Ph.D. degree, although graduate students in the doctoral program may receive an M.A. degree in the course of their work toward the Ph.D. Students admitted to the doctoral program are awarded a six-year fellowship package that includes full tuition, academic year stipends, stipends for some summers, and medical insurance. Experience in teaching positions is a required part of the 2 Department of South Asian Languages and Civilizations program, and students are given opportunities to teach at several levels in both language courses and other courses. -
Ideophones in Middle Chinese
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË ! Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas'Van'Hoey' ' Presented(in(fulfilment(of(the(requirements(for(the(degree(of(( Master(of(Arts(in(Linguistics( ( Supervisor:(prof.(dr.(Jean=Christophe(Verstraete((promotor)( ( ( Academic(year(2014=2015 149(431(characters Abstract (English) Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas Van Hoey This M.A. thesis investigates ideophones in Tang dynasty (618-907 AD) Middle Chinese (Sinitic, Sino- Tibetan) from a typological perspective. Ideophones are defined as a set of words that are phonologically and morphologically marked and depict some form of sensory image (Dingemanse 2011b). Middle Chinese has a large body of ideophones, whose domains range from the depiction of sound, movement, visual and other external senses to the depiction of internal senses (cf. Dingemanse 2012a). There is some work on modern variants of Sinitic languages (cf. Mok 2001; Bodomo 2006; de Sousa 2008; de Sousa 2011; Meng 2012; Wu 2014), but so far, there is no encompassing study of ideophones of a stage in the historical development of Sinitic languages. The purpose of this study is to develop a descriptive model for ideophones in Middle Chinese, which is compatible with what we know about them cross-linguistically. The main research question of this study is “what are the phonological, morphological, semantic and syntactic features of ideophones in Middle Chinese?” This question is studied in terms of three parameters, viz. the parameters of form, of meaning and of use.