Chinese-Character-and-La教學(xué)講解課件

Ideograph&PictographRichinSenses

－ChineseLanguage&CharactersinaUniqueStyleQuestions1.HowimportantisChineselanguageintheinternationalcommunity?OfficiallanguagesintheU.N.:English,French,Spanish,Russian,Arabic,ChinesePercentageofworldpopulationspeakingthatlanguage:Chinese20.7%,English6.2%,Spanish5.6%,Arabic3.8%,Brazilian(Portuguese)3.0%,Russian3.0%,Japanese2.3%,German1.8%,French1.4%Widelyusedinothercountriesorregions:English115,French35,Arabic24,Spanish20,Russian16,German9,Brazilian(Portuguese)5,Chinese5IsitdifficulttolearnChineselanguage?I.SquareChineseCharacterTheChinesecharacters,neatandpeculiarinappearance,occupythesamespacinginprintedpaper,whetherdrawnin“一”(one),“二”(two),“了”(already)and“又”(again)withoneortwostrokes,orcopiedin“驟”(assembly)and“罐”(jar)withovertenstrokes.Thecharactersdiversifyinposture.Forexample,“田”(fields)“非”(not)inuprightandsquaretype,and“戈”(dagger-axe)“夕”(night)and“瓦”(tile)incrookedandaskewstyle,allareprintedoutinidenticalsize.Withrespecttothistrait,therefore,Chinesescriptisfigurativelyreferredtoas“SquareCharacters”.legendsaidthatCangJiInventedtheScript.CangJiwasallegedlybelievedtobeadeitywithfoureyesontheface,intelligentandtouchedindivinities,andtobesoprofoundlyenlightenedbythebeautyinnatureastohaveinventedChinesecharacters.ThelegendarystoryadvertisednoneotherthanthegreatinventionofChinesescript.Asamatteroffactitwasnotcreatedbyanydeityandhadundergonearemoteprocessinembryo.Comparedwiththeothersystemsofscripts,Chinesecharactersemergedearlywithanover4,000-yearhistory.arrowheadedcharacters(cuneiform):anancientwedge-shapedscriptusedinMesopotamiaandPersiaHieroglyphSixwaysofwordformationAfteritsbirthChinesescriptcoursedthroughsuchroutesasthepictographs,theindicativecharacters,theassociativecharacters,thepictographic-phoneticcharacters,thereferentialcharactersandthephoneticloancharacters.Whatismeantbythepictographs?HavingevolvedfromhieroglyphtheyclaimedtobetheearliestscriptsystemasacornerstoneofChinesecharacters,conveyingcertainconnotationsbymeansofconcreteimagesofthings.Thefollowingfivecharacters“水”(water)“月”(theMoon)“目”(eyes)“車(chē)”(chariot)“馬”(horse)arethepictographsdelineatedfromvisibleobjects.Theindicativecharactersresemblethepictographs;howeverthefirstlaysemphasisonexplanationsandthelatteronshapesofobjects.Thecharactersbearingresemblancetoobjectsaredefinedaspictographs;andthosebearingnoresemblancetoobjectsbutexplainingthesensesareindicativecharacters.Taketwoinstancesof“上”(up)“下”(down),theywereportrayedas“┴”“┬”inthesmall-sealscript,aChineseancientstyleofcalligraphy.旦Theassociativecompoundsaremadeupofovertwoindependentsigns.Forinstance,“武”(weapon)comprising“止”(stop)and“戈”(dagger-axe)waseverannotatedbysomephilologiststomean“tostopwarwithdagger-axes”.卡，東Thepictographic-phoneticcharactersarealsocoinedoutoftwosegments,oneforgraphs,theotherforphonetics.Take“湖”(pool)forexample,thethreedotsrepresenttheimageofapool,“胡”usedinbeinghomophonicofthesoundofapool.銅Themutuallysynonymouscharactersrefertoapairofcharactersthatmayhavecrossreferencetoeachotherinconnotation,suchas“考”(examination,old)and“老”(old).Thephoneticloancharactersaretheborrowedhomophones,suchas“西”resemblingaswarmofbirdsperchingintrees,whichwaspreviouslymeant“棲”(thebehaviorofbirdsperchingintrees),laterwasloanedtoexpress“west”indirections.Asregardsthehistoricevolution,thecoinagegoverningChinesecharactershasvariedtremendouslyoverthepastmillenniafromtheearlypictographsinvoguetothepictographic-phonetic-connotativescriptsystem.FeaturesofChineselanguage1).Chinesescriptfallswithinideographinnoimmediatecontactwithpronunciation.Thesquareformscanofferadirectreflectionupontheinternallanguagecode.

theWesternscripthasevolvedfromthehieroglyphtothealphabeticlinearsystem,whichonlyservesasthesymbolofthelanguagesignssothattheexchangebetweenvariedthoughtsmustbefulfilledinthemediumofphonetics.Languageandscriptbelongtothetwodifferentsignsystems;thesolereasonwhythelatterexistsliesintheexpressionoftheformer.Forinstance,“忍”(endure)iscomposedof“心”(heart,mind)and“刀”(knife),themeaningbeingdistinctandthorough;“人”(man)symbolizesaheroofgiganticstaturewithtwolegsonlandandaheadagainstthesky;and“夢(mèng)”(dream)dramatizesamansleepinginwoods(林)atnight(夕),allvividandperceivableimages.2).

TheWesternscriptsarecataloguedtobethealphabeticandtheChinesematchtobethesyllabic.Chinesecharactersappearinasimplesyllabicpattern,onecharacterembodiedinonesyllable.ThankstoplainsyllablesChineselanguageaboundsinhomonyms.Andthenthetunesareemployedtodistinguishbetweenthecharacters.3).RespectingtheconnotationtheWesternscriptsseemabstractandrationalwhiletheChineseconcreteandperceptible.Chineselanguagerevealsanextremesimplicityofthinking,concretenessofimageryandeconomyofsyntacticalrelationships.TheWesternscriptsdosointhatthereisnoinherentcoordinationavailablebetweenthesignsandtheinformation.ItisnotastonishingthattheWesternscriptsaregenerallycharacteristicofincomprehensibility.OnthecontraryChinesecharactersareequippedwithgraphsandconnotations,takingonconcreteimageswithaconspicuousapprehensibility.Forexample,Chinesewomenintheancienttimeslivedinawretchedstatusandsowerecursedasamishap;accordinglycameupinprocessionagroupofderogatorytermsrelatedto“女”(women)suchas“奸”(cunning),“婪”(avaricious),“娼”(bitch),“妓”(prostitute)and“妖”(evilandfraudulent).Evensomecharacterswithneutralintensionspouroutsexdiscrimination,suchas“安”(safe)implyingawomanlockedupathomeandforbiddentogoaway,“妥”(compromise)depictingawomanseizedbymen’shands.AsingleWesternletterbearsnosenses,butChinesecharacterscontainaffluenceofconnotation.

abstractionvsimageryGreatmindsthinkalike.Twoheadsarebetterthanone.Rackone’sbrainsRackone’sintestinesAbellyfulofideas(scholarship,poetryandliterature)Abellyfulofsorrow(anger,remorse)TheirsorrowfulintestinesaretiedintoahundredknotsTheirintestinesarebrokenBellymanuscriptThereisnodifferencebutdifferenceofdegreebetweendifferentdegreesofdifferenceandnodifference.HowcouldIperceivehisinnermentalprocesses?HowcouldIknowwhatisgoingoninhismind?AmIatapeworminhisbelly?Inbriefthenon-alphabeticsquarecharactershaveservedtobeamarkedfeatureofChineseculture,afeaturethatexertedamoderateimpactontheformulationofthetraditionalthinkingstereotypefocusedonintuitionandtheintegral.4)ConcisioncombinedwithsimplicityasanotherfeatureisconferreduponChinesescript.Accordingtothestatisticsconcerned,itistheChineseversionthattakesonthethinnestcopyofalltheUnitedNationsdocumentsprintedinsixofficiallanguages.Consideredexclusivelythefrugalityintimeandpaper,ChinesecharactersstillassumesuperiorityovertheWesternmatches.Themessagespermeatedinthesentences,includingmorphology,syntaxandsemanticconnotationscanbynomeansofthevariationsingraphs.“themeaning-mergedapproach”vs“syntacticelements”conceivedintheWesternlanguages.TakeaprosebyMaZhiyuan,awriterintheYuanDynasty:SolitudeinAutumnTothetune:SandinClearSkyDriedvines,oldtreesandravensatdusk;Asmallbridge,adrippingbrook,andathatchedcottage;Theagedroad,thewestwindandabonycharger.Thesunsetfarandlowglides,Aheart-brokemanplodsattheedgeofthesky.29可編輯元代散曲家馬致遠(yuǎn)的《天凈沙·秋思》枯藤老樹(shù)昏鴉，小橋流水人家，古道西風(fēng)瘦馬。夕陽(yáng)西下，斷腸人在天涯。ThebeginningthreeversesareequallyasimplearrayofnounswithnoWestern-stylegrammaticalelementsinsertedbetweenthembutanin-bornstructuredependentuponthereaders’comprehension.Neverthelesstheimagesasdescribedbythesenounsareexhibitedaperfectprospectofaquietmountainvillageinautumn.Thesorrowfulsentimentisembeddedintheinnermostoftheauthor,theartisticconceptionbeingprofoundwithalastingappeal.AsyntacticrulethatnounscanneverbeprecededbyanadverbasamodifierisinvariablyrenderedreasonableintheWesternlanguages,butitdoesnotworkintheChinesecounterpart.Lookatthefollowingsentences:A.他在畫(huà)些什么？山不山,水不水的。(Whatishedrawing?Somethingneitherlikemountainsnorrivers.).B.那個(gè)人不男不女的，真難看。(Thatmanlooksneitherlikeamalenorafemale.Helooksdisgusting.)“不山”(unlikemountains),“不水”(unlikerivers),“不男不女”(neitheramalenorafemale)canbewell-foundeddespite“不”(not,adverb)precedingthefournouns.AnotherWesternsyntacticrulethatnounscannotbeoverlappedcannotproveeffectiveinChineselanguage.Don’tyouoftenreadandhearsuchphrasesas“山山水水”(mountainsandrivers,aresplendentscenery),“風(fēng)風(fēng)雨雨”(windandrainindicatingtrialsandhardships),“花花草草”(flowersandgrass),“壇壇罐罐”(jarsandpotsimplyinghouseholdutensils).“坑坑洼洼”(fullofbumpsandhollows),“車(chē)車(chē)馬馬”(chariotsandhorsesimplyingbusytraffic).InChineselanguage,manysentencesbearnosubject,nopredicateandnoobject.A).Whenexplainingnaturalphenomenaorwarningofcertainupcomingthings,itappearsinasocalledverb-objectphraseattachedattheendwithanauxiliary“了”(alreadychanged),suchas“下雨了”(Ithasrained),“出太陽(yáng)了”(Thesunhasbeenshining),“上課了”(Classhasbegun)and“開(kāi)車(chē)了”(Thebushasstartedup).B).Whenexpressingdemandorban:“愛(ài)護(hù)花草”(Takecareofflowersandlawn),“隨手關(guān)門(mén)”(Closedoorbeforeleaving),and“振興中華”(RejuvenateChina).C).Itcomesupinmottosorproverbs,suchas“不經(jīng)一事，不長(zhǎng)一智”(Wisdomcomesfromexperience),“種瓜得瓜，種豆得豆”(Reapwhatyousowed),“不入虎穴，焉得虎子”(Nothingventure,nothinggain)D).Whenshowingwishandexpectation,itrecursin“愿我們的友誼萬(wàn)古長(zhǎng)青”(MayourfriendshiplastforeverApoemwrittenbyWenTingjunservesasanexemplar:雞聲茅店月，人跡板橋霜。CocksCrow,ThatchedInn,Moonlight;Footprints,WoodBridge,Frostwhite.(Thispoemonlycontainssixnounsinasimpleprocessinsteadofpredicateorothergrammaticalelements,unfoldsavividimagethatatravelerlodgingatacountryinngetsupatmidnightandhurriesonhisway.ItsoundsunconceivableintheWesterngrammaticalrules.)TakeacoupletengravedintheFlowerGodTempleattheWestLake:翠翠紅紅，處處鶯鶯燕燕；風(fēng)風(fēng)雨雨，年年暮暮朝朝。Green,green,red,red,Everywhere,everywhere,orioles,orioles,swallows,swallows;Breeze,breeze,rain,rain,Everyyear,everyyear,nights,nights,days,days.(aharmoniousintegralcomplexinChineseotherthanan“excessive”caseintheWesterngrammar.)AsamatteroffactthesentencesexclusiveofpredicatesarefrequentlyemployedinlargequantitiesindailycommunicationbetweenChinesepeople.Thistypetakesonformsasfollows:A).Thesentencewithadjectivesasthepredicate,suchas“中國(guó)人民勤勞勇敢”(Chinesepeoplearediligentandcourageous),“這張畫(huà)漂亮”(Thispaintinglooksmagnificent)and“小伙子忠厚老實(shí)”(Thekidappearshonestandsincere);B).Thesentencewithnounsasthepredicate,suchas“今天星期五”(TodayisFriday),“他十八”

(Heiseighteen),“一塊錢(qián)三斤蘋(píng)果”(Threejinofapplescostsoneyuan),“他天津人”(HecomesfromTianjin),“這小伙子，大眼睛，黑眉毛”(Theyoungguyhasapairoflargeeyesandblackeyebrows)C).Thesentencewith“的”(of)asthepredicate,suchas“張家賣(mài)煤的”(TheZhangfamilysellscoal)and“小李開(kāi)車(chē)的”(XiaoLiisadriver)(Suchbeingthecase,whycanChineselanguageaccuratelyexpoundideasandconveysentimentswithoutresorttosuchhighly-specifiedgrammaticalrulesastheWesterngrammar?Itisdependentupontheideographicperformanceandpragmaticfeatures.)Sincetheideographicconnectionoccursoutoftherelations,consequentlytheprocessofpuretacitthinkingwillreplacesomeportionofgrammar.ThosewhoareaccustomedtotheWesterngrammaroftenfeelbewildered,butitissuchthathasmoldedthebroadnessandprofundityofChineselanguage,resultingfromwhichareservoirofcontentsandcomplexitiesemitsalingeringcharm.5).ahighstabilityofvocabularyandsentencepatterns.WesternlanguagestendtobereconstructiveandChineselanguagetobeaccumulative.InWesternlanguagesthereisapopularphenomenonofnorepeatedemploymentofanexpressionorasetofphrasesforthealready-changedthings;secondly,oftheconstantchangeinwordorderandsentencepattern.ConfrontedwiththeWesternmatch,Chineselanguageappreciatesagreatdegreeinstabilityandinvariablenessthatisintimatelyrelatedtoitspropertyofideographorpictograph.TherehasarisenthegeneralityandflexibilityinahigherdegreeofChineselanguage.Achild,forexample,onlyifheorsheisawareofaconcept“車(chē)”(car,cartorchariot),canspeakoutapileofphrasesconcerned:火車(chē)(train),汽車(chē)(carortruck),馬車(chē)(horse-drawncart),牛車(chē)(ox-drawncart),驢車(chē)(donkey-drawncart),人力車(chē)(rickshaw),兩輪車(chē)(two-wheeledcart),獨(dú)輪車(chē)(one-wheeledcart)and三輪車(chē)(tricycle).NowonderthatChinesestudentscanlearntowritelettersandcompositionsaslongastheyhavegotamasteryof2,000-3,000characters.Acommon-editionXinhuaDictionarycomprisesatotalofnomorethan8,000charactersinclusiveofthevariables,aconspicuousfeatureincontrastwiththeWesternpeers.(ApopulardictionaryforstudentsintheWestiswellstockedwith160,000-170,000wordsandallthemoretheOxfordDictionarymaintainsanoceanofover600,000words,whichisstillontherise).ItisreasonablethataChinesestudent,incaseofabasiccommandofthecharactersandpropergrammar,willbefullycompetentinreadingthebookswrittenorcompiledindifferenttimes.“子在齊聞韶，三月不知肉味”(Inthegrammartherehasbeennoobviousvariation,thewordorderandsentencepatternsremainingunimpairedinitsmodernmatch.ThestabilityinChineselanguagemirrorsaprofileofthecharacteristicsoccurringintheaccumulativeness.)6).outstandingmusicality---melodiousinsound,gentleintune,clear-cutintempoandharmoniousinrhyme.TheIndo-Europeanlanguagefamilyhasinvariablyappliedthestressedandunstressedsound,thelongandshortenedsound,whileitisthetunesthatmaybecountedasthepatentofChineselanguage.Thesamesyllablewithdistincttuneswillgeneratevariedphoneticformsofwordsorsentenceelements,thenarousingdifferentialsenses.Wecanspotthesamevowelandconsonant,andthesameassociationorder/ma/among“媽”(mother),“麻”(linen),“馬”(horse)and“罵”(curse)andhoweveritisthevariedtunesthathavemadethemsounddifferent.Thephonetictraitissetupuponunitsofsyllablesinwhichtheconsonantstakepredominance,andtheborderbetweenwhichseemsfairlyclear-cut,afavorableconditionforrecordingtheenjoyabletempo.ItwasnoneotherthanthisthatChineseclassicalpoemsexploitedtoarraybothregularandvariedunitsintempo,suchasapoembyLiShangyininthelateTangDynasty:晚晴

深居——俯——夾城，春去——夏——猶清天意——憐——幽草。人間——重——晚晴。并添——高閣——迥微注——小窗——明。越鳥(niǎo)——巢乾——后，歸飛——體——更輕。TwilightIliveinseclusionintown,Seeingspringpass,summerslowsdown.Heavenpitiesleavesquiet.Humansfavortwilight.Line-upmansionsvaried,Twilight’sshiningonwindowsill.Birdsaredryingtheirwingsonhigh,Flyingbackwithdelight.(ItshouldbeaffirmedthattheEnglishversioncanbynomeansbeequivalentinpatternsandrhythmtotheChineseorigi