A Study of the History of Chinese Characters and Chinese Idioms Used in Vietnam

2021 ◽  
Vol 54 (0) ◽  
pp. 47-69
Author(s):  
HyunJae Kim ◽  
TaeShik Kim
Keyword(s):  
Chinese Characters ◽  
History Of ◽  
Chinese Idioms

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.

scholarly journals ETHNONYM JURCHEN IN THE CONTEXT OF HISTORY AND ARCHAIC BELIEFS OF THE PEOPLE (BASED ON THE WORKS OF CHINESE RESEARCHERS)

2020 ◽  
pp. 19-25
Author(s):  
MARINA A. KHAYMURZINA ◽  
Keyword(s):  
Religious Beliefs ◽  
Ethnic Relations ◽  
Chinese Characters ◽  
Cultural Characteristics ◽  
Local Language ◽  
The People ◽  
History Of ◽  
Available Information

The name of the people reflects a lot - the history of inter-ethnic relations, cultural and language contacts, religious beliefs. The difficulty of studying the origin, sound and meaning of a name is due to the lack or insufficiency of language material. There are various hieroglyphic records of the Jurchen ethnonym. Such diversity is determined by time, place, local language and the choice of Chinese characters to fix the name of this community. However, the sound of all hieroglyphic records of the Jurchen name is almost identical. The word Jurchen is also recorded in Jurchen language. Available information indicates that the meaning of the Jurchen name is «gold». The meaning as «Eastern falcon/eagle» is also take a place, it reflecting the cultural characteristics of the Jurchens, their ethnic spirit and primitive religious beliefs.

scholarly journals The motive of overcoming history and fate and the Buddhist worldview in A. L. Ivanchenko’s novel “Monogram” and Mo Yan’s “Tired of being Born and Dying”

2021 ◽  
Vol 2 (8) ◽  
pp. 75-86
Author(s):  
Leonid V. Dubakov ◽  
◽  
Zheng Qianqian ◽  
Keyword(s):  
Life Cycle ◽  
Complex Structure ◽  
Chinese Characters ◽  
Life Strategies ◽  
Mo Yan ◽  
Starting Point ◽  
Russian Author ◽  
History Of ◽  
Chinese Author ◽  
Looking Glass

The article analyzes the motives of overcoming history and fate in the novels by A. L. Ivanchenko “Monogram” and Mo Yan “Tired of Being Born and Dying” in the context of the Buddhist worldview of both authors. The images of the main characters, the chronotope, the themes and problems of the works are examined through the prism of the Buddhist attitudes presented in the books; and life strategies and escape strategies of the Russian and Chinese characters are compared. The reborn Ivanchenko and Mo Yan's characters overcome their karma and their family's karma by conquering affective conditions and coming to the end of the life cycle. They discover the conventional nature of a human's existence through the motif of mirroring (the Russian author) and proximity to the wildlife (the Chinese author). The protagonists in the Russian and Chinese novels are characterized by a complex structure of consciousness, which tends to multiply and reveal its illusory nature. Time in both novels is cyclical and virtually devoid of movement, despite the presence of the characters in the actual political history. The space of both books tends to turn into a myth, revealing images of eternity through the earthly specifics of the place: the heroine of “Monogram” is in the Buddhist “looking glass”, while the hero in “Tired of being born and dying” is in the manor, which is a model of mythological cosmos. The controversial history of China and Russia of the previous century, A. L. Ivanchenko and Mo Yan's political extremes become a starting point for unfolding the internal plot, the plot of the heroes' Buddhist transformation and finding their Buddhist peace.

scholarly journals Bridging Ethnic Diversity through Service-Learning on Teaching Chinese Characters for Surabaya-Indonesia Toddler

2018 ◽  
Vol 59 ◽  
pp. 01024
Author(s):  
Olivia
Keyword(s):  
Service Learning ◽  
Low Income ◽  
Ethnic Diversity ◽  
Chinese Culture ◽  
Chinese Language ◽  
Social Activity ◽  
Chinese Characters ◽  
Low Income Children ◽  
History Of ◽  
Poor Children

This social activity is to give low-income children a chance to let the, understand the evolution of Chinese characters, hope through this activity, can attract the group of children to have more interested in other language, especially Chinese language. To understand the Chinese culture, no longer discriminate against the Indonesian Chinese culture. Evidence of discrimination against Chinese Indonesians can be found throughout the history of Indonesia, although government policies implemented since 1998 have attempted to redress this. Due to this discrimination, Chinese Indonesians have suffered an identity crisis, unable to be accepted by both native Chinese and native Indonesians. With this program, there is a hope to bridge the differences that exist with the introduction of the Chinese character on poor children in Surabaya, to let them more understand about Chinese language and the culture behind. And create a better relationship for the next generation in Indonesia. After the progress, we asking the children about this program, and they said they love it and wish to know more about China and their culture.

The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan

2020 ◽  
Vol 7 (6) ◽  
pp. 190-207
Author(s):  
Chih Ho Chen ◽  
Sheng-Min Hsieh
Keyword(s):  
Fine Arts ◽  
Chinese Characters ◽  
Writing Systems ◽  
Human Communication ◽  
Concrete Poetry ◽  
Sound Poetry ◽  
Motion Type ◽  
Technological Advances ◽  
History Of ◽  
The Aesthetic

Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication. The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms. This essay focuses on the following four topics: Artistic expression and styles related to the development of type as image in motion. Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry. Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry. how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.

The Secret History of the Mongols: some fresh revelations

1992 ◽  
Vol 55 (1) ◽  
pp. 115-119
Author(s):  
T. H. Barrett
Keyword(s):  
Chinese Characters ◽  
Chinese Translation ◽  
History Of ◽  
Mongol Empire ◽  
Secret History

As is well known, the Secret History is the only surviving source on the rise of the Mongol empire produced by the Mongols themselves, yet controversy continues to surround its value, its purpose, even its date. The fullest and earliest attested version of the text does not even survive in the Uyghur script employed by the Mongols, but only in a transcription into Chinese characters, accompanied by Chinese translation; a transposition carried out at an unkown date under circumstances which are not entirely clear. Chinese sources, it is true, have been used to throw a certain amount of light on the transmission of the Secret History, notably in a lengthy and detailed article published forty years ago by William Hung,1 but as the summary by F. W. Cleaves of the problems surrounding this evidence in the introduction to his translation of the Secret History makes abundantly clear,2 much has remained a matter for conjecture.

Sino-Japanese Controversy since the the 1972 Diplomatic Normalization

1990 ◽  
Vol 124 ◽  
pp. 639-661 ◽  
Author(s):  
Hidenori Ijiri
Keyword(s):  
Foreign Relations ◽  
Cultural Influence ◽  
The Other ◽  
Chinese Characters ◽  
Advanced Economy ◽  
Hierarchical Order ◽  
Modern Period ◽  
Japanese Military ◽  
Inferiority Complex ◽  
History Of

IntroductionSino-Japanese relations appear to have a dual structure which is built into the long history of exchanges and interaction between the two countries. Some phrases such as ichii taisui (“neighbours across the strip of water”) and dobun doshu (“same Chinese characters, same race”) have long been regarded as a symbol of the friendly relationship between the two countries. Such a symbol, however, implies dual and conflicting sentiments of the Japanese and the Chinese, namely the feelings of inferiority and superiority with each other in a hierarchical order of foreign relations in Asia.To be more specific, the Chinese have a superiority complex deriving from their cultural influence in pre-modern history and hatred stemming from Japanese military aggression against China in the modern period, while having an inferiority complex based upon Japan's co-operation in their modernization, and admiration for Japan's advanced economy. On the other hand, the Japanese have an inferiority complex due to their cultural debt to China and the sense of original sin stemming from their past aggression against China, while having a superiority complex based upon their assistance to China's modernization and contempt for China's backwardness.

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