scholarly journals Subtitling Calligraphy

2021 ◽  
Vol 1 (1) ◽  
pp. 115-133
Author(s):  
Markus Nornes

Abstract This essay examines a regional, not global, dimension of Chinese cinema: the Chinese character in its brushed form. Calligraphy and cinema have an intimate relationship in East Asia. Indeed, the ubiquity of the brushed word in cinema is one element that actually ties works in Korean, Japanese and Sinophone Asia together as a regional cinema. At the same time, I will explore the very specific difference of Chinese filmmakers’ use of written language. On first glance, cinema and calligraphy would appear as radically different art forms. On second glance, they present themselves as sister arts. Both are art forms built from records of the human body moving in (an absent) time and space. The essay ends with a consideration of subtitling, upon which Chinese cinema’s global dimension is predicated. How does investigating this very problem lead us to rethinking the nature of the cinematic subtitle, which is very much alive―a truly movable type?

Author(s):  
Peter Francis Kornicki

This chapter focuses on the language rupture in East Asia, that is to say, the loss of the common written language known as literary Chinese or Sinitic. The gradual replacement of the cosmopolitan language Sinitic by the written vernaculars was a process similar in some ways to the replacement of Latin and Sanskrit by the European and South Asian vernaculars, as argued by Sheldon Pollock. However, Sinitic was not a spoken language, so the oral dimension of vernacularization cannot be ignored. Charles Ferguson’s notion of diglossia has been much discussed, but the problem in the context of East Asia is that the only spoken languages were the vernaculars and that Sinitic was capable of being read in any dialect of Chinese as well as in the vernaculars used in neighbouring societies.


2021 ◽  
Vol 5 (2) ◽  
pp. 145-153
Author(s):  
Jeong Yeon Sil ◽  
Jang Eun Young ◽  
Park Heung Soo

This study examines why and how Chinese characters spread into Korea. It subsequently conducts a comparative analysis of Korean and Chinese children’s textbooks with a focus on Yu Hap from the perspective of the acceptance and acculturation of Chinese characters. It also explores how commonly used the characters in Yu Hap are, and the text’s learning value as one of Korea’s children’s textbooks. Yu Hap is very significant as the first written language textbook published in Korea. A comparative analysis of the characters used in four children’s books published in Korea found that the characters in Yu Hap are very common, and the text has a high learning value. Approximately 50% of the characters in San Bai Qian and Yu Hap are the same, showing that both China and Korea had similar perceptions of the characters in common use. A very significant proportion of characters overlap in Basic Chinese Character for Educational Use, List of Common Words in Modern Chinese, and Yu Hap; this supports the idea that the same characters have continued to be used from ancient times to the present day.


Figurines ◽  
2020 ◽  
pp. 51-87
Author(s):  
Claudia Brittenham

This chapter explores figurines in a variety of media from the Olmec sacred site at La Venta. It examines the scaled relationships within a series of figurines: all are by definition small, but they are not equally small, something that can be hard to keep in mind when we usually see figurines in relative isolation or as disembodied images on page or screen, abstracted from all scaled referents. Crucial is that Mesoamerican figurines are almost universally scaled to the human body, so that they can be grasped with a single hand. Many bear patterns of wear corresponding to sites of repeated touch. Touch was fundamental to the making of figurines, and also to their subsequent use: many cannot stand independently, and instead require a kind of affective caretaking. These issues have fundamental significance for the play of scales at La Venta, where many monumental art forms, from pyramids to stelae, also engaged with matters of scale.


Radiocarbon ◽  
2009 ◽  
Vol 51 (3) ◽  
pp. 891-903 ◽  
Author(s):  
Yaroslav V Kuzmin ◽  
J A Timothy Jull ◽  
G S Burr

General chronological frameworks created recently for the Neolithic complexes of China, Japan, Korea, and far eastern Russia allow us to reveal temporal patterns of Neolithization, origin of food production, and the emergence of civilizations. Pottery originated in East Asia, most probably independently in different parts of it, in the terminal Pleistocene, about 14,800–13,300 BP (uncalibrated), and this marks the beginning of the Neolithic. Agriculture in the eastern part of Asia emerged only in the Holocene. The earliest trace of millet cultivation in north China can now be placed at ∼9200 BP, and rice domestication in south China is dated to ∼8000 BP. Pottery in East Asia definitely preceded agriculture. The term “civilization,” which implies the presence of a state level of social organization and written language, has been misused by scholars who assert the existence of a very early “Yangtze River civilization” at about 6400–4200 cal BP. The earliest reliable evidence of writing in China is dated only to about 3900–3000 cal BP, and no “civilization” existed in East Asia prior to this time.


2021 ◽  
Author(s):  
Andi Asrifan

Often speaking of 'language' means speaking (speaking language), often writing (written language). How different are they? Of course, while writing is written and read, speech is spoken and heard. But the variations are far more:Levels. Age. Speech goes back, maybe a million years ago, to human origins. The writing, however, is relatively new; first invented by the Sumerians, around 3200 B.C. in Mesopotamia. Since then, the concept of writing has spread globally and in various parts of the world different writing systems have developed.All-encompassing. People will talk everywhere. However, people were not literate until the Sumerian invention. Even now, in officially literate communities, there are many non-literate classes (e.g. New Guinea) and many non-literate citizens.Procurement. People all over the first two years of their life start talking, perhaps many of the skills involved are innate rather than acquired. Writing generally builds on language learning.Structural stages. Two forms of fundamental units are speaking: 'phonemes' or sound units that are meaningless by themselves are combined into 'morphemes' that have a meaning; thus phonemes /b/, /i/ and /t form a bit. It functions the same way alphabetically scripts. In a different type of script, the syllabary, the fundamental unit, refers to a spoken syllable. For example, in the logo script. Each Chinese character is a whole morphema (usually a word). (See Daniels and Bright 1996 for more detail on scripts.)Interdependence. Interdependence. In either speech or writing, most literate persons can convey the same messages, but speech usually transmits more explicit information than writing. Hebrew and Arabic consonants show, but sometimes omit vowel symbols. In Chinese, the words corresponding symbols can offer no or only partial signals of pronunciation. The written and spoken forms of a given language appear to fit and may influence each other on one or more occasions, as if 'through' means 'through' On the other hand, people may pronounce the 't' in spelling pronunciation "often" even though it was lost historically. Some formal literary types, such as classical Chinese, have a written and direct relationship to expression.Power to retrace. Speech cannot be recorded or stored until a magnetic recorder is invented, except by failing memory and writing. But for thousands of years writing can be maintained. Its continuity has made human structures such as libraries, histories, timelines, dictionaries, menus and what we commonly term "civilization" possible.Literary use. Literary use. Non-literate cultures have orally written and memorized customs – songs, ceremonies, stories, myths. These texts may be referred to as oral literature. In comparison, writing allows for the most commonly called 'literature,' i.e. text bodies that are far larger and codified than memory allows. But dramatic performance and aloud reading remain important traditions, even in literate societies.Prestige. Prestige. Written language, which is all highly prestigious, is linked by political and economic powers, admirable literary and educational institutions. People often think their written language as central in literate societies; they see the word as less than it is. However, writing is more cold or impersonal than voice.Normalization. The languages spoken have dialects—forms that differ from geographical to social areas. However, the need for communication promotes progress to a single written, governmental, education and literary standard in complex societies which use writing. The reputation of the written standard would also have an effect on speech.Formality. Formality. It can be formal or informal to interact. Writing may be associated in literary cultures with formal and informal forms. In formal circumstances (oratory, sermons), a person may "speak like a book" and adapt written style. Formal and informal forms, for example in Arabic, can be quite distinct and can be virtually separate languages.Shift. Change. Change. Spoken language is continuously evolving everywhere, and speakers may still be largely unknown about it. Written language has changed even less than its pronunciation since Chaucer's time due to it's consistency and standardization and slower and less sweeping changes. The elements of formality and prestige in turn are related to this.


2020 ◽  
Vol 2 (2) ◽  
pp. 1-18
Author(s):  
Clayton Wayne Lehman ◽  
Brett Welch

Many international schools develop a formal written language policy to address language learning and use.  Additionally, schools often develop a language policy as part of an authorization and or accreditation process.  Although a school may have a formal written language policy, sometimes teachers are unaware the policy exists.  The purpose of this study was to examine teacher knowledge of language policy in English-medium international schools in East Asia. Additionally, the researchers explored whether there were differences in teacher knowledge of language policy between schools that have an affiliation with CIS, IB, and ACS WASC and schools with no affiliation. Further, the researchers examined how often teachers followed the language policy and if the policy defined the roles of teachers. This quantitative survey-based study had 544 participants, of whom 387 were teachers. The main finding revealed that a sizeable percentage of teachers reported that their school does not have a formal written language policy or were unsure if one exists.  Additional findings revealed similarities in language policy knowledge between CIS and IB schools and schools with no affiliation.  Further, less than half of the teachers follow the language policy consistently, and many policies do not specify teacher roles.


2016 ◽  
Vol 57 (3-4) ◽  
pp. 417-426
Author(s):  
William A. Everett

For people living in London during the 1890s, China and the Chinese were largely mythical constructions. Attitudes towards China, as well as the Chinese themselves, were being imagined at the time through various media, including popular musical theatre. Two shows, both with music by Sidney Jones and produced by George Edwardes at Daly’s Theatre, were significant in this identity construction: The Geisha (1896) and San Toy (1899). Both musicals are set in East Asia and include Chinese and British characters. In The Geisha, which takes place in Japan, the sole Chinese character is Wun-Hi, the owner of a teahouse. He is less than honorable, and his music is in an ethnic-based music hall style, with nearly speech-sung melodies and unashamed Pidgin English. In Jones’s score for San Toy, which is set in China, characters who endorse Western views sing glorious melodic lines reminiscent of Gilbert and Sullivan while those who do not sound like Wun-Hi in The Geisha, with clipped articulations and non-standard English.


2021 ◽  
pp. 251385022097028
Author(s):  
Yeon Sil Jeong ◽  
Eun Young Jang ◽  
Heung Soo Park

This study examines why and how Chinese characters spread into Korea. It subsequently conducts a comparative analysis of Korean and Chinese children’s textbooks with a focus on Yu Hap from the perspective of the acceptance and acculturation of Chinese characters. It also explores how commonly used the characters in Yu Hap are, and the text’s learning value as one of Korea’s children’s textbooks. Yu Hap is very significant as the first written language textbook published in Korea. A comparative analysis of the characters used in four children’s books published in Korea found that the characters in Yu Hap are very common, and the text has a high learning value. Approximately 50% of the characters in San Bai Qian and Yu Hap are the same, showing that both China and Korea had similar perceptions of the characters in common use. A very significant proportion of characters overlap in Basic Chinese Character for Educational Use, List of Common Words in Modern Chinese, and Yu Hap; this supports the idea that the same characters have continued to be used from ancient times to the present day.


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