A Study on the Application of the Classical Chinese Characters' achievement standards and achievement levels -Based on the Area and Semester achievement levels-

2012 ◽  
Vol 29 (0) ◽  
pp. 441-468
Author(s):  
Ji-hun Yoon ◽  
Keyword(s):  
Chinese Characters ◽  
Classical Chinese ◽  
Achievement Standards ◽  
Achievement Levels

Translating iconicities of classical Chinese poetry

Semiotica ◽  
2018 ◽  
Vol 2018 (224) ◽  
pp. 19-44
Author(s):  
Guangxu Zhao ◽  
Luise von Flotow
Keyword(s):  
Ezra Pound ◽  
Point Of View ◽  
Target Language ◽  
Chinese Characters ◽  
Chinese Poetry ◽  
Princeton University ◽  
Amy Lowell ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
History Of

Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.

On the Significance of the Glosses in Vietnamese Classical Chinese Texts

2018 ◽  
Vol 13 (3) ◽  
pp. 29-50
Author(s):  
Kosukegawa Teiji ◽  
John Whitman
Keyword(s):  
Chinese Characters ◽  
National Library ◽  
Extensive Documentation ◽  
Classical Chinese ◽  
Proper Name ◽  
Chinese Texts ◽  
Japan And China

Vernacular reading—reading Classical Chinese texts in the local vernacular—was practiced throughout the Sinosphere, everywhere people adopted Chinese characters to write and read. Recent research indicates that it took place in Vietnam as well. In this paper, we introduce the variant of this practice found in Japan: kanbun kundoku (漢文訓讀). We then use the extensive documentation of the annotation, glossing, and punctuation of texts in Japan and China to identify similar practices in Vietnamese texts. Using materials digitized by the Vietnamese Nôm Preservation Foundation for the National Library of Vietnam (NLV) as well as materials housed at Thắng Nghiêm and Phổ Nhân temples, we identify reading glosses, pòyīn, proper name glosses, reference marks, and punctuation, added in black or vermillion ink depending on the type of annotation. We suggest that further study of such annotations will help clarify the ways in which Vietnamese readers learned, studied, and read Classical Chinese.

Sign in / Sign up

Export Citation Format

Share Document