scholarly journals Translating Western Concepts by Creating New Characters: A Comparison of Japanese and Chinese Attempts

2011 ◽  
Vol 2 (1) ◽  
pp. 51-62
Author(s):  
Shen Guowei
Keyword(s):  
Nineteenth Century ◽  
Chemical Elements ◽  
Chinese Language ◽  
Point Of View ◽  
Chinese Characters ◽  
Compound Words ◽  
The Creation

Abstract Chinese characters are considered as an adaptable system, open to expansion and revision. Throughout history, the creation of new characters was one of the most important solutions to enlargements of the conceptual repertoire. Both scholars of “Dutch Learning” in Japan and missionaries active in nineteenth- century China used Chinese characters in their translations of western concepts. From a methodological point of view, Japanese scholars mostly coined compound words rendering the literal meanings of their terms of departure while translators in China, invigorated by the success of the new characters devised for chemical elements, believed that drafting new characters was more in line with the characteristics of the Chinese language. However, notwithstanding the painstaking efforts with which they were created, the new characters proposed by missionaries were eventually replaced by compound terms first used in Japanese adaptations. This paper examines the different practices and attitudes of Chinese and Japanese authors toward the creation of new characters as a method of translation. Analyzing the influence of their divergent approaches on the lexical systems of their respective languages, since Chinese has a very limited number of phonetic patterns, I conclude that it is impossible to create viable technical terminologies only by increasing new characters.

scholarly journals Peculiarities of the structural organization of financial terms in modern Chinese and Russian languages (comparative aspect)

2021 ◽  
Vol 66 (3) ◽  
pp. 327-332
Author(s):  
Yu Wei
Keyword(s):  
Structural Organization ◽  
Chinese Language ◽  
Chinese Characters ◽  
Compound Words ◽  
Structural Types ◽  
Modern Chinese ◽  
Comparative Aspect

The article deals with the features of the formal and structural organization of financial terms and designations in the Russian and Chinese languages of different structures, as well as the problems of distinguishing between one-word and names consisting of several words in the Chinese language. Special attention is paid to the problem of the correspondence of Chinese characters to the significant parts of the nominative unit and the division of Chinese financial names into significant structural fragments (morphemes, parts of complex and compound words, names consisting of several words, etc.). The main structural types of financial names in Russian (one-word and consisting of several words) and Chinese (simple, synthetic and consisting of several words) languages are identified, the differences of abbreviated names in Russian and Chinese languages are shown, the quantitative relations of the structural types of Russian and Chinese financial names are considered.

Illustrating the Indian Wars

2017 ◽  
Author(s):  
John M. Coward
Keyword(s):  
Nineteenth Century ◽  
Manifest Destiny ◽  
Point Of View ◽  
Indian Wars ◽  
War Coverage ◽  
The Creation ◽  
Indian War ◽  
White Violence

This chapter studies illustrations of the Indian wars. Looking at Indian–white violence in the 1860s, it argues that Indian war coverage and related images of Indian–white violence were considerably more imaginary than real, functioning in ways that supported the ideology of Manifest Destiny. Although some illustrations depicted scenes of actual battles by “on the spot” artists, reality was less important than the creation of white heroes and Indian demons, images that reinforced the necessity of military conquest. Other violent illustrations were purely allegorical, invented scenes meant to symbolize the continuing—and, from the nineteenth-century point of view, necessary—struggle between civilization and savagery.

scholarly journals «Do you require our responsibility to gentry times?». Ukrainian intellectuals’ of the 19th – the beginning of the 20th century opinions about the role of the heritage of the polish-lithuanian commonwealth in the creation of modern ukrainian nation

2018 ◽  
Vol 11 ◽  
pp. 27-55
Author(s):  
Olena ARKUSHA
Keyword(s):  
Nineteenth Century ◽  
National Development ◽  
Point Of View ◽  
Historical Narrative ◽  
Grand Narrative ◽  
Historical Sources ◽  
Russian Government ◽  
The Past ◽  
Political Interests ◽  
The Creation

European historiography changed considerably during the nineteenth century. Formation of historical source study as a separate science, on the one hand, and awareness of the connection between the historical narrative of the past with political interests, on the other hand, gave impetus to the writing of historical works on national history, the so-called grand narratives. They relied on historical sources, but chose what served the actual political interests, and ignored or interpreted otherwise what they did not fit. The territorial organization of living space has become a priority task of national development in the nineteenth century, and the recognition of land, borders, and people as own should have been historically grounded. The difficulty for Ukrainians was that the traces of Ukrainian-Russ statehood were lost in ancient times, while the neighbors, primarily Russians and Poles, tried to draw both the territory and the past of Ukraine into their own concepts of the creation of modern nation. The creation of the Ukrainian grand narrative was influenced by external factors: the division of the Polish-Lithuanian Commonwealth and the collapse of its once unified political, cultural and intellectual space, and the policy of the Russian authorities, aimed to separate «Little Rus’» from western civilization. Russian censorship successfully removed memory of Polish-Ukrainian ties from historical works and replaced it with the image of the invading Poles. The traumatic, post-war experience, idealization of images of Cossack soldiers was the favorable ground for this. As a result, in Ukrainian historical grand narrative the «Polish-Lithuanian» period was interpreted as an external occupation, a break in the «correct» history of Ukraine. The whole complex of everyday life, cultural and political influences of Ukrainians in the Polish-Lithuanian Commonwealth remained beyond history. Its main content was recognized by the Polish-Ukrainian conflicts. The views on the legacy of the Commonwealth in the Ukrainian society of the nineteenth century can also be analyzed from the perspective of the intellectual biographies of their creators and take into account the experience of relations with the Poles, the private image and repression of the Russian government. An unbiased rethinking by professional historians of the past of the Polish-Lithuanian Commonwealth from the point of view of the interactions of various cultural spaces in the nineteenth century was not a matter of time. Keywords Ukrainian-Polish relations in the nineteenth century, Ukrainian-Russian relations in the nineteenth century, Ukrainian historiography of the nineteenth century, intellectual biography, cultural and intellectual heritage of the Polish-Lithuanian Commonwealth.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

Estereotipos y tendencias en la prensa rumana actual

2020 ◽  
Vol 65 (4) ◽  
pp. 223-240
Author(s):  
Coman Lupu
Keyword(s):  
Online News ◽  
Point Of View ◽  
Compound Words ◽  
Wide Audience ◽  
Frequent Use ◽  
Natural Outcome

Stereotypes and Trends in Today’s Romanian Press. In the last three decades, the Romanian media has undergone significant changes. In this industry, the market is nowadays dominated by TV and online press. The number of TV stations with national or local coverage has increased significantly, and the competition between newspapers or online news pages has intensified. A consequence of the battle for audience is the tabloidization of some TV channels, as well as online press, in order to increase the number of retrievals of online news. The tabloidization trend is seen in the dissemination of a sometimes-exaggerated number of sensational information, in the wording of news titles and in the insistent advertising. From a linguistic point of view, chaos reigns in TV and online press. Many of the news posted online seem to be drawn up in a hurry or negligently translated from various foreign sources. We are witnessing a mixture of styles and an alienation from the journalistic canon. The stylistic hybridization is the natural outcome of the frequent use of words and phrases characteristic to colloquial-familiar and argotic language or from various terminological areas, generally hardly accessible to the wide audience. However, the TV and online press has an undisputed merit: a major contribution to enriching the vocabulary with new elements (compound words, derived words, loanwords from other modern languages or calques), to their dissemination and establishment in the Romanian language.

LES AXES DE LA CRÉATION ET LA NAISSANCE DE LʹIMAGINAIRE COMME LANGAGE MYTHIQUE

Trictrac ◽  
2016 ◽  
Vol 9 ◽  
Author(s):  
Liliana Danciu ◽  
Petru Adrian Danciu
Keyword(s):  
Sacred Space ◽  
Physical World ◽  
Spoken Word ◽  
Point Of View ◽  
Philosophical Approach ◽  
Starting Point ◽  
Written Form ◽  
The Creation ◽  
Religious Systems ◽  
Rich Spectrum

The axes of the creation and birth of the imaginary as a mythical language. Our research follows the relationships of the concepts that are taking into account creation on the double axis of verticality and horizontality. We highlight those symbolic elements which would later constitute the mythical language about the sacred space-temporality. Inside this space-temporality a rich spectrum of mythical images develops; images capable of explaining the relationships of the creation plans. Without a religious perception of the temporality, the conceptualization of the axis would remain a philosophical approach. Through our point of view, the two are born simultaneously. Thanks to them, creation can be imagined. The first “frozen” formula of the mystical human spirit can be thought, brought to a palpable reality, expressed in an oral and then a written form. Studied together, temporality (sacred or not) and space are permanently imagined together. For example, a loss of mundane temporality in the secret ecstasy that offers to the soul an ascending direction does not mean getting out of universal temporality, but of its mundane section. In the sacred space the soul relates to time. Even the gods are submitted by the sacred, Aeon sometimes being synonymous to destiny. The universal creator seems to evade every touch, but not consistently, only when he avoids the descent into its created worlds. In sacredness, time and space seem or become confused, both expressing the same reality, by the immediate swing from thinking to deed. The mythical imagery conceives the displacement in the primary space-temporality by the spoken word. So, for something to appear and live, the spoken word is required. Even the divine dream appears as a pre-word of a creator’s thought. The thought follows the spoken word, the spoken word follows the gestures which finally indicate the meanings of the creative act, controlling the rhythm of the creation days. These three will later be adapted through imitation in rite. We are now situated at the limit of the physical world, a real challenge for the mythical imagery. The general feature of the mythical expression on the creation of the material world is the state of the divinity’s exhaustion, most often conceptualized by sacrifice or divine fatigue. The world geography identifies with the anatomy of a self-gutted god. Practically, material creation is most likely the complete revelation of God’s body autopsy. As each body decomposes, everything in it is an illusion. An axial approach of the phenomenon exists in all religious systems. The created element’s origin is exterior, with or without a pre-existing matter, by a god’s sacrifice or only because it has to be that way. This is the starting point of the discussion on the symbolism of axiality as a reason for the constitution of the language of creation, capable of retelling the imaginary construction of myth in an oral and then written form.

TRANSLATION OF SOCIAL AND POLITICAL TERMINOLOGY OF CHINESE LANGUAGE AS A PROCESS OF NORMATIVE PRACTICE IN CONTEXT MODELS

2020 ◽  
Vol 6 (3) ◽  
pp. 172-182
Author(s):  
Saodat Nosirova ◽  
Keyword(s):  
Comparative Analysis ◽  
Law Enforcement ◽  
Chinese Language ◽  
Integrated Approach ◽  
Point Of View ◽  
Modern Chinese ◽  
Normative Practice ◽  
Context Models

The article is devoted to a comparative analysis of the socio -political terminology of the modern Chinese language.The purpose of the article is to search for an integrated approach to the study of the cognitive side of social and political terms of the Chinese language from the point of view of law enforcement in the process of translating official materials from Chinese into Uzbek and / or Russian and vice versa

Performing the Mass in B Minor in an Age of Choices

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Nineteenth Century ◽  
Johann Sebastian Bach ◽  
Point Of View ◽  
Performance History ◽  
History Of ◽  
Compositional History

Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

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