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As an intriguing but little understood language group within the Tibeto-Burman family, Qiangic languages are widely reported to have evidentiality, the grammatical means of expressing information source. How does this category function in this language group? Does it show any common features across these languages? And does it have any unique properties? Drawing on data from over a dozen languages and dialects, and cast within an informative typological framework, this study is the first attempt to answer these questions. It is found that evidentiality in Qiangic languages can be classified into three broad types. The study further demonstrates that modern systems cannot be inherited from Proto-Qiangic, and it also reveals certain features of the reported evidential that seems to be typologically rare.
As an intriguing but little understood language group within the Tibeto-Burman family, Qiangic languages are widely reported to have evidentiality, the grammatical means of expressing information source. How does this category function in this language group? Does it show any common features across these languages? And does it have any unique properties? Drawing on data from over a dozen languages and dialects, and cast within an informative typological framework, this study is the first attempt to answer these questions. It is found that evidentiality in Qiangic languages can be classified into three broad types. The study further demonstrates that modern systems cannot be inherited from Proto-Qiangic, and it also reveals certain features of the reported evidential that seems to be typologically rare.
Editor / Translator:
Colin Huehns
From prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician’s musician, the scholar’s scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place.
From prehistoric bone flutes to Confucian bell-sets, from ancient divination to his beloved qin, this book presents translations of thirteen seminal essays on musical subjects by Jao Tsung-i. In language as elegant and refined as the ancient texts he so admired, his journey takes readers through Buddhist incantation, the philosophy of musical instruments, acoustical numerology, lyric poetry, historical and sociological contexts, manuscript studies, dance choreography, repertoire formulation, and opera texts. His voice is authoritative and intimate, the expert crafting his arguments, both accessible and sophisticated, succinct and richly tapestried; and concealed within a deft modesty is a thinker privileging us with his most profound observation. The musician’s musician, the scholar’s scholar, bold yet cautious, flamboyant yet restrained, a man for all seasons, a harmoniousness of time and place.
Deconstructing hentai kanbun
How is it possible to write down the Japanese language exclusively in Chinese characters? And how are we then able to determine the language behind the veil of the Chinese script as Japanese? The history of writing in Japan presents us with a fascinating variety of writing styles ranging from phonography to morphography and all shades in between.
In Japanese Morphography: Deconstructing hentai kanbun, Gordian Schreiber shows that texts traditionally labelled as “hentai kanbun” or “variant Chinese” are, in fact, morphographically written Japanese texts instead and not just the result of an underdeveloped skill in Chinese. The study fosters our understanding of writing system typology beyond phonographic writing.
In Japanese Morphography: Deconstructing hentai kanbun, Gordian Schreiber shows that texts traditionally labelled as “hentai kanbun” or “variant Chinese” are, in fact, morphographically written Japanese texts instead and not just the result of an underdeveloped skill in Chinese. The study fosters our understanding of writing system typology beyond phonographic writing.
Deconstructing hentai kanbun
How is it possible to write down the Japanese language exclusively in Chinese characters? And how are we then able to determine the language behind the veil of the Chinese script as Japanese? The history of writing in Japan presents us with a fascinating variety of writing styles ranging from phonography to morphography and all shades in between.
In Japanese Morphography: Deconstructing hentai kanbun, Gordian Schreiber shows that texts traditionally labelled as “hentai kanbun” or “variant Chinese” are, in fact, morphographically written Japanese texts instead and not just the result of an underdeveloped skill in Chinese. The study fosters our understanding of writing system typology beyond phonographic writing.
In Japanese Morphography: Deconstructing hentai kanbun, Gordian Schreiber shows that texts traditionally labelled as “hentai kanbun” or “variant Chinese” are, in fact, morphographically written Japanese texts instead and not just the result of an underdeveloped skill in Chinese. The study fosters our understanding of writing system typology beyond phonographic writing.
Abstract
In 1980, Umberto Eco’s first novel Il nome della rosa was published in Italy and has quickly had global resonance, entering China by the late 1980s. Since then, six translations have been published in the Chinese language, including two issued by Taiwanese translators. It is interesting to observe how each version is able to refract the socio-cultural contexts of the translators, depending on the aspirations and cultural images created in the different periods and geographic areas. We need also consider that, especially in the case of Eco’s novels, the translators had to not only deal with the different needs and expectations of their readers but also imagine a ‘new model reader’, just as Eco did. Therefore, this paper aims at confronting the six different translated versions, by identifying the new model readers imagined by the translators, considering their own expectations, knowledge, and cultural context.
In:
Signs and Media
Shī 詩 of the Ānhuī University Manuscripts
The songs of the Royal Zhōu (“Zhōu Nán” 周南) and of the Royal Shào (“Shào Nán” 召南) have formed a conceptual unit since at least the late Spring and Autumn period (771–453 BC). With this book Meyer and Schwartz provide a first complete reading of their earliest, Warring States (453–221 BC), iteration as witnessed by the Ānhuī University manuscripts. As a thought experiment, the authors seek to establish an emic reading of these songs, which they contextualise in the larger framework of studies of the Shī (Songs) and of meaning production during the Warring States period more broadly. The analysis casts light on how the Songs were used by different groups during the Warring States period.
Shī 詩 of the Ānhuī University Manuscripts
The songs of the Royal Zhōu (“Zhōu Nán” 周南) and of the Royal Shào (“Shào Nán” 召南) have formed a conceptual unit since at least the late Spring and Autumn period (771–453 BC). With this book Meyer and Schwartz provide a first complete reading of their earliest, Warring States (453–221 BC), iteration as witnessed by the Ānhuī University manuscripts. As a thought experiment, the authors seek to establish an emic reading of these songs, which they contextualise in the larger framework of studies of the Shī (Songs) and of meaning production during the Warring States period more broadly. The analysis casts light on how the Songs were used by different groups during the Warring States period.
The Atlas shows for the first time the contemporary geography of the entire Tibetan Plateau, an area where major powers (China, India and Pakistan) meet in the highest landscape on earth, originally inhabited by the unique, ancient Buddhist civilization of Tibet.
Using extensive satellite imagery, the author has accurately positioned over two thousand religious locations, more than a third of which appear not to have not been previously recorded. Nearly two thousand settlements have also been accurately located and all locations are named in both Tibetan and Chinese where possible. This ancient landscape is shown in contrast to the massive physical infrastructure which has been recently imposed on it as an attempt to “Open up the West” and carry forward the Chinese “Belt and Road Initiative”. With 120 maps in full colour.
Using extensive satellite imagery, the author has accurately positioned over two thousand religious locations, more than a third of which appear not to have not been previously recorded. Nearly two thousand settlements have also been accurately located and all locations are named in both Tibetan and Chinese where possible. This ancient landscape is shown in contrast to the massive physical infrastructure which has been recently imposed on it as an attempt to “Open up the West” and carry forward the Chinese “Belt and Road Initiative”. With 120 maps in full colour.
The Atlas shows for the first time the contemporary geography of the entire Tibetan Plateau, an area where major powers (China, India and Pakistan) meet in the highest landscape on earth, originally inhabited by the unique, ancient Buddhist civilization of Tibet.
Using extensive satellite imagery, the author has accurately positioned over two thousand religious locations, more than a third of which appear not to have not been previously recorded. Nearly two thousand settlements have also been accurately located and all locations are named in both Tibetan and Chinese where possible. This ancient landscape is shown in contrast to the massive physical infrastructure which has been recently imposed on it as an attempt to “Open up the West” and carry forward the Chinese “Belt and Road Initiative”. With 120 maps in full colour.
Using extensive satellite imagery, the author has accurately positioned over two thousand religious locations, more than a third of which appear not to have not been previously recorded. Nearly two thousand settlements have also been accurately located and all locations are named in both Tibetan and Chinese where possible. This ancient landscape is shown in contrast to the massive physical infrastructure which has been recently imposed on it as an attempt to “Open up the West” and carry forward the Chinese “Belt and Road Initiative”. With 120 maps in full colour.
Abstract
Through an examination of documents from the Qin county of Qianling excavated from Well no. 1, Liye, Hunan Province, and looted documents held by the Yuelu Academy, Hunan University, that were rescued from the Hong Kong antiques market, this paper discusses the ways in which the victorious Qin state treated the enemy that they had defeated in the wars of unification leading to the establishment of the Qin Empire. It also considers how the Qin treated those who resisted the imposition of their rule. It is determined that the Qin categorized these people into three types or groups and applied Qin law to them. It also discusses the establishment of a bureaucratic system through which the Qin tracked down fugitive enemies.
In:
Bamboo and Silk