A Suggestion for the Educational Development of Chinese Character and Chinese Writing in East Asia

Considering the significance and actuality of the Chinese syllables: their phonetic sounding and peculiarities of pronunciation, the proposed article will focus on the syllables which are regarded to be a difficult phonetic aspect. The main goal of this article is to become a brief guide of the correct and incorrect spelling for the Chinese syllables “ju”, “qu”, “xu” and “yu”, and to bring clearance into understanding of the necessity to spell the Chinese character correctly, in accordance with the basic phonetic laws. The article provides the rules of correct spelling, frequent spelling mistakes, syllable peculiarities and difficulties in understanding the main point of the statement, while being pronounces incorrectly. The article will reveal that the background of the issue is hidden in the formation of pinyin, and the consecutive process of its reformation and simplification. The information and research, provided in the article will be supported by the fundamental pinyin Chart, shown in two parallels: the original Chinese writing and spelling of the syllables, on the one hand and the spelling, offered by the Archimandrite Palladyi for the transcription and transliteration of the Chinese syllables into Cyrillic script, on the other.

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Subtitling Calligraphy

Journal of Chinese Film Studies ◽

10.1515/jcfs-2021-0004 ◽

2021 ◽

Vol 1 (1) ◽

pp. 115-133

Author(s):

Markus Nornes

Keyword(s):

East Asia ◽

Human Body ◽

Chinese Character ◽

Intimate Relationship ◽

Global Dimension ◽

Written Language ◽

Chinese Cinema ◽

Specific Difference ◽

Art Forms ◽

Sister Arts

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?

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Scripts and Writing

10.1093/oso/9780198797821.003.0003 ◽

2018 ◽

Author(s):

Peter Francis Kornicki

Keyword(s):

East Asia ◽

Ninth Century ◽

Literary Texts ◽

Chinese Script ◽

Chinese Writing

This chapter deals with the diversity of scripts in East Asia. By the time that neighbouring societies came into contact with Chinese writing, it had already gone a long way towards standardization and had already generated a substantial literature. In many of those societies the Chinese script was used to write official and then literary texts in Sinitic, and subsequently to write the vernaculars using characters phonographically. This was true of Japan, Korea, and Vietnam, but it was not true of the Tanguts or of Tibet, where the arrival of Buddhist scriptures stimulated the desire to translate, and for this purpose scripts were invented for the Tangut and Tibetan vernaculars. In Japan the two kana scripts emerged in the ninth century, and later vernacular scripts were developed in Vietnam (nôm), Korea (hangul or chosongul) and other societies. This diversity, it is argued, is largely due to the principle of disassociation.

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A typology of readings of Chinese characters in traditional Zhuang manuscripts

Cahiers de linguistique - Asie orientale ◽

10.1163/1960602809x00036 ◽

2009 ◽

Vol 38 (2) ◽

pp. 245-292 ◽

Cited By ~ 1

Author(s):

David HOLM ◽

David HOLM

Keyword(s):

Chinese Character ◽

Southern China ◽

Chinese Characters ◽

Writing System ◽

Writing Systems ◽

Chinese Writing System ◽

Standard Chinese ◽

Chinese Writing

The Old Zhuang Script is an instance of a borrowed Chinese character script. Zhuang is the current designation for the northern and central Tai languages spoken in Guangxi in southern China. On the basis of a corpus of traditional texts, as recited by traditional owners, this article presents a typology of Zhuang readings of the standard Chinese characters in these texts. While some categories represent phonetic or semantic readings of Chinese characters, others correspond neither semantically nor phonetically to Chinese graphs, and often involve serial borrowing. The implications of this typology for the study of writing systems, and the Chinese writing system in particular, would seem to be considerable.

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Imagining China in London musical theatre during the 1890s: The Geisha and San Toy

Studia Musicologica ◽

10.1556/6.2016.57.3-4.9 ◽

2016 ◽

Vol 57 (3-4) ◽

pp. 417-426

Author(s):

William A. Everett

Keyword(s):

East Asia ◽

Identity Construction ◽

Chinese Character ◽

Musical Theatre ◽

Standard English ◽

Music Hall

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.

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Etymological Analysis Model of the Chinese Hieroglyph: an Experiment

Bulletin of Kemerovo State University ◽

10.21603/2078-8975-2019-21-1-270-284 ◽

2019 ◽

Vol 21 (1) ◽

pp. 270-284

Author(s):

N. V. Terekhova

Keyword(s):

Material Culture ◽

Chinese Character ◽

Linguistic Analysis ◽

Writing Development ◽

Research Strategy ◽

Chinese Characters ◽

Russian Linguistics ◽

Analysis Model ◽

Chinese Writing ◽

Selection Of

The paper presents a gradual model of etymological analysis of the Chinese hieroglyph. The research was based on the game approach logic expressed in the combination of Russian and Chinese linguistic analysis of Chinese characters. The established rules include verification of the graphic paradigm according to the stages of Chinese writing development. In addition, the rules involve grammatological, structural, semantic, and ideosemantic analyses. Individual research strategy included selection of linguistic, historical, and cultural sources for verification of the graphic-semantic characteristics of the Chinese character. The author applied a combination and sequence of research approaches and introduced an authentic analysis terminology. The authentic terminology was supported by analogies from Russian linguistics, as well as by the experience of etymologization of the character in Chinese philological science. The paper features a model of etymological analysis of the Chinese character. It consists of several stages/types of etymological reconstructions: formal-graphic,grammatical or structural, and semantic (including ideosemantic).The created etymological model was tested on the example of etymologization of the Chinese hieroglyph "cart" 車 che / ju. Its paradigm was verified according to its graphic variants, which belonged to the early stages of ancient Chinese writing, namely jinwen, jiaguwen, and zhuanti. The author determined the graphic-semantic core of the character. Its graphic sensemaking form was systematically analyzed on the basis of verification of its graphic and semantic characteristics. Finally, the author conducted a semantic and ideosemantic analysis of the character, which included historical and archeological data on Chinese material culture. As a result, the study helped to define the etymological meaning of the character.

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XIX. Eugraphia Sinensis; or, the Art of Writing the Chinese Character with Correctness: contained in Ninety-two Rules and Examples. To which are prefixed, Some Observations on the Chinese Writing

Transactions of the Royal Asiatic Society of Great Britain and Ireland ◽

10.1017/s0950473700000240 ◽

1827 ◽

Vol 1 ◽

pp. 304-312

Author(s):

John Francis Davis

Keyword(s):

Chinese Character ◽

Written Language ◽

General Rules ◽

The Subject ◽

Chinese Writing ◽

Alphabetic Writing

The graphic beauty of a written language, which approaches so near to the hieroglyphic as the Chinese, where many of the characters are intended as pictures of the idea to be conveyed, where the variety of the lines, or strokes, is so great, and their combinations are so numerous, must be allowed at once to exceed, and to be more difficult of attainment than, that of the alphabetic writing of Europe. The number of the simple characters, or elements, of which all the compounds of the language are formed, greatly exceeds that of any one alphabet; but, when compounded, their relative juxta-position and arrangement, the shortening of some strokes and the lengthening of others, is of course subject to some general rules; which, from the very nature of the subject, must be more numerous and complicated, than the mere joining together of our European letters. The advantage of simplicity (and a very great advantage it is) constitutes the chief merit of alphabetic writing; that of variety and graphic beauty may fairly be claimed by the Chinese.

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