![]() I also the beauty of the Chinese language. 8 The Calligrapher's Daughter I was born in Taipei, Taiwan, the daughter of a Call me optimistic, but I see the melding of these calligrapher and a ceramic artist, so I grew up two cultures, East and West, as being instr:ument.al immersed in art and with a deep appreciation of in creating a more culturally literate world.Graphic Design: Brave New World Publishing Ltd Art Director: Crispin Jameson Principal Illustrator: Noma Bar Digital conversion by booqlab CONTENTS 1: INTRODUCTION The Calligrapher's Daughter How to Use the Book 2: THE BASICS Building Blocks, Compounds, Phrases Advanced Sentences STORY Peter and the Wolf 3: REFERENCE Building Block Plates Index of Characters and Phrases Acknowledgments First published in North America in 2014 by Harper Design An Imprint ofHarperColtinsPublishers 10 East 53rd Street, New York, NY 10022 Tel: (212) 207-7000, Fax: (212) 207-7654 Distributed in North America by HarperCollinsPublishers 10 East 53rd Street, New York, NY 10022 Fax: (212) 207-7654 Library of Congress Control Number: 2013951753 ISBN 9780062358028 CKF8) Author and Concept: ShaoLan Hsueh Bi*Ji!. For information please e-mail the Special Markets Department at. HarperCollins books may be purchased for educational, business. For information address Harper Design, 10 East 53rd Street, New York, NY 10022. ![]() No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. The story on pages 159-179 is based on Prokofiev's Peter and the Wolf (1936) Chineasy"" is a trademark of Chineasy Ltd, London Published by arrangement with Thames & Hudson Ltd. (Illustration by Noma Bar art direction by Crispin Jameson © Chineasy Ltd) CHINEASY: THE NEW WAY TO READ CHINESE Copyright © 2014 Chineasy Ltd. ~) On the cover: The character for 'fire', *.HARPER DESIGN An Imprint ol Harper CollinsPublisheni r r~ For Mulan caJI) and MuAn (.THE NEW WAY TO READ CHINESE by S H AOLA N aj!i\_ with illustrations by NOMA BAR.The final chapter deals with the interpretation of Buddhist chant as a source of historical information on the Japanese tones. Part II shows how – contrary to what has often been thought – Ramsey’s theory is not in contradiction with the philological data. The final chapter deals with evidence from Japanese loanwords in Ainu. de Boer’s study shows how data from a host of Japanese dialects, from the north-eastern tip of Japan to the Ryukyu archipelago in the south-west, offer additional proof for Ramsey’s theory. ![]() Even though this theory offered a convincing explanation for many problems that remained unsolved in the prevalent theory, it failed to find acceptance. Ramsey proposed an alternative theory, which regards the peripheral Tokyo type dialects as archaic. The prevalent theory (Kindaichi 1951), which regards the Kyoto type tone system of central Japan as most archaic fails to explain the modern dialect data. The reconstruction of the historical development of the modern Japanese tone systems is one of the major issues in Japanese historical linguistics.
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