A Comparative Analysis of the Origin and Formation Between Chinese Characters and English Alphabets

This research is based on the framework of social constructivism,utilizing the principle of Human Universals as a methodology to compare the similarities and differences between the ideation and formation methods of Chinese characters and English alphabets.Through comparative analysis of the ideation of English letters(pictogramme)and the origin of Chinese characters,known as the"Six Categories Theory,"we discover their alignment in terms of social,traditional,and cultural aspects.This suggests that different ethnic groups share common features in terms of life experience,learning cognitive development,and thinking habits.This study also finds that the origins of English letters and Chinese characters share similar linguistic features in their methods of constructing letters/characters,such as pictographic,ideographic,and semantic characteristics.Exploring these commonalities contributes to promoting learning and communication between Chinese and English characters.Additionally,by focusing on socio-cultural aspects,traditional customs,and cognitive learning,this study aims to break away from the traditional linguistic research approach that solely focuses on language differences.This provides a broader perspective and richer dimensions for Chinese and English language learning,facilitating the development of cross-linguistic and cross-cultural communication.

Animation of Chinese Characters： Evolution of Shapes and Styles

Hanzi （Chinese characters） has a long history and affluent contents. To promote the popularity of historical and cultural knowledge of Chinese characters, an online program has been launched by Beihang University and Beijing Normal University to explain Chinese characters＇ original meanings and evolution processes with vivid and expressive animation videos. Currently, More than 1,000 videos can be accessed through the website “http：//www.chinesecharacter.org/”. Besides these online resources, a human-computer interaction system is also proposed to simulate clerical changes of Chinese characters through computer morphing technology. What we want is to make the teaching and learning of Chinese characters more reasonable, more easily understandable and more interesting.

A Study on the Traditional Chinese Traditional Architectural Form of Mythological Tradition

Objective Through the metaphorical archetypal spirit and mythological semantics of Chinese character structure, this paper explores the metaphorical mythological gene and the moral order of the Chinese character structure, geographical thinking and aesthetic orientation of the mythological prototypes derived from the Chinese characters. Method The cultural archetypes and the theories of big and small traditions are adopted to sort out the mythological beliefs in the former architectural forms of the big traditions and the ethical narrative system carried by the buildings in the small cultural traditional societies. In the architectural archetypes dominated by big and small cultural traditions, the thinking of “archetypes and ethics” is found to be a homologous gene, which confirms the universal significance of the spirit of Chinese Confucian ethics to the power of Chinese civilization flowing and inheriting and human morality. Conclusion The structure of Chinese characters has the function of “recording” and “interpreting”, and the mythological thinking of architectural form materials, understands the ultimate transformation of cultural archetypes in creation, and guides the value of the traditional architectural design of “bringing out goodness and symbiosis” in the contemporary era. To relieve the material pursuit of spiritual enjoyment at that moment, to promote cultural heritage and the role of social treatment, to build cultural identity and the spiritual transcendence of the existence value of space ethics and the overall social and cultural identity.

The Origin of Chinese Characters

IN oracle-bone inscription, 面 (mian) depictsthe outline of a face with a large eye at its center.To this end its original meaning was the humanface. However, in ancient Chinese 面 referred tothe front of the head and another characterdenoted the cheek, specifically the area

The Origin of Chinese Characters

吴(wu),is the name of anancient kingdom and also of a placein Chinese history.At the beginningof the Xizhou Dynasty(circaB.C.1000-B.C.771),a prince namedTaibo came to live in Wu.His directdescendent later thrived and lordedthe region,making himself a king andWu his kingdom.But in B.C.475,thekingdom of Wu was overthrown andthe Yue Kingdom took over.

The Origin of Chinese Characters

IN both the oracle-bone inscription andthe bronze inscription, "并" (bing) lookslike two people being linked together. Theoriginal meaning of "并" is merge orunite. It is also used as an adverbial wordmeaning all and together.

The Origin of Chinese Characters

IN both the oracle-boneinscription and the bronzeinscription,"子" (zi) looks like aninfant with a big head and a smallbody. It was either written in theform of a baby in swaddling clotheswaving its hands or a standing childwith a few renegade hairs on its headand unformed skull.

The Origin of Chinese Characters

In ancient Chinese characters, "北" (bei)depicts two people standing back to back. Itoriginally meant,running counter to, or goingagainst’ something or someone. When a

The Origin of Chinese Characters

IN bronze inscription,the character黑(hei)depicts a person smoked bythe heat of a fire into filth,heat andsweat.its origininal meaning is

The Origin of Chinese Characters

IN ancient Chinese characters,母(pronounced mu)depicts a womanbending on her knees and crossingher hands in front with two points onher chest symbolizing her breasts.The original meaning of 母 is anadult woman who has given birth tochildren,i.e.a mother It was

The Origin of Chinese Characters

女 (nü) is a pictograph. InChinese it means female, theopposite of male. In ancientChinese, women had low socialstatus which is reflected in theshape of the character. 女 in theOracle-Bone Script looks like

汉字“生”“活”“存”“在”本义的存在论意义--存在论的“汉语哲学”诠释

汉语“本体论”与“存在论”应当严格地区别开来,前者对应传统的“ontology”,后者对应的则应当是“Being theory”,因为后者思考的并非形而上的存在者,而是前存在者的存在。尽管前者可以汉译为“存有论”,但后者却不能,因为汉语“有”的本义是一种存在者化的观念,在哲学上所指的正是作为形而上存在者的本体。所谓“汉语哲学”,其中心任务应当是揭示中国哲学关键词的存在论意义。汉字“生”“在”“存”的本义,即人与草木浑然不分的共在,都是中国远古先民对存在的感悟,从而具有存在论意义;而“活”的本义作为“水流声”,则表征着人是由于倾听“天命”而得以存在的,从而具有当代诠释学的意义。

“余”字本义的“帝自称说”汉字字源学考辩——基于“炎黄崇拜”假说

“余”字本义释义存在多种解说。但究竟哪种解说合乎逻辑思辨和推理的科学性标准,需要进行汉字字源学层面的考证辨析。该文提出“余”字本义的“帝自称说”,借助“炎黄崇拜”假说的理论工具,从“余”字字族、“亼”字字族、专有名称、专有地名、专有自称5个维度进行了系统的考辩,得出“余”应为上古华夏文明中帝对自己的专有称谓,“余”字造字构型应当从亼从木。其中“亼”字字根代表了“△”形帝陵、神庙或神坛,是“炎黄崇拜”的标志性建筑形制;“木”字字根为“炎黄”二帝来自神授之权杖的简体造型。该文的探索性研究旨在为“余”字本义的“帝自称说”提供有力论证的同时,亦能够验证“炎黄崇拜”假说在建构汉字字源学理论体系中的有效性。

汉字图形化创意在LOGO设计中的应用

从汉字的文化内涵出发,通过对汉字在标志设计中的不同应用方式将汉字型标志进行总结、归类,试图清晰、宏观地把握汉字型标志设计的发展规律及趋势,展现汉字型标志独特的文化意蕴和形式美,并从中找寻汉字型标志设计的突破口和新课题。

基于工具携带作用的服装起源研究

服装是人类重要的生活要素,关于它的起源,学术界历来观点颇多。基于常见观点所依托的理论根据,归纳了常见观点类别,分析了这些观点的偏颇所在。针对以往观点存在的误区,运用唯物主义观点,同时基于木石器等原始狩猎、采摘工具对远古先民的重要性,研究了人类最初携带工具的可能方式,认为其中用兽皮、叶子等天然片状物包裹工具进行携带的方式与服装的起源有着必然的联系。通过分析汉字字源,运用结合事实的推测演绎法,论证了服装是作为盛器以工具的身份起源,且最早的服装为男性的围腰布。

华裔学生汉字书写特征的个案研究——基于与非汉字圈学生的比较

通过摄像观察、访谈,本文客观描述了4个华裔学生的汉字书写过程,与非汉字圈学生进行比较后发现:华裔学生书写速度在初级水平阶段比非汉字圈学生快得多,中级水平阶段两者的书写速度趋同;但华裔学生没有结构性偏误,且笔画偏误少,并只在初级水平阶段出现;华裔学生和非汉字圈学生在初级和中级水平阶段都存在笔顺问题。文章从认知心理和文化背景两方面进行了分析,指出:华裔学生的书写既包含了留学生汉字书写的普遍特征,也有反映其特征的独特一面;对华裔身份的认同是他们汉字学习较早入门的基础和前提。

中国文字起源时代研究

出土考古资料的刻划符号应分象形类和抽象类两种,从文字的性质看,中国文字起源于象形类的刻划符号和图案,而非抽象类的刻划符号。中国文字起源是一个漫长的发展过程,作为记录历史事件的文字功能来看,中国早期文字经历了从"文字性符号"、"文字画"到作为记录语言的文字符号系统的正式文字产生过程。从出土的陶器刻划符号和图案特别是出土的器物与殷墟甲骨文形体比较情况来看,中国早期文字性符号的起源是距今8 000—7 000年的裴李岗、大溪文化时期,距今5 000年之前的仰韶文化晚期是文字性符号的一个大发展时期。汉字体系的正式产生是距今4 500—4 000年之间的龙山文化时期,也就是传说时代的尧舜至夏初时期。

东南亚华裔留学生汉字偏误考察报告

东南亚华裔学生是学习汉语的留学生中的重要群体，他们具有自己鲜明的群体特征。本文通过第一手的语料统计分析了其汉字偏误概况的总体特点：偏误类型复杂多样，各类偏误的数量分布极不均衡，偏误在这些学习者内部的分布也有很大的差异性，这与其复杂的学习背景密切相关，因此对这部分留学生的汉字教学需要具有相应的针对性。

《说文解字》“牛”部字文化生态研究

从文化生态、汉人、汉字三方面入手,以《说文解字》牛部字为例,探究了汉族人是通过观察文化生态创制了汉字,这一过程也反映了造字时所处时期的文化背景,说明了汉字作为记录汉民族语言的书写符号,其创制与使用除了出于语言交际需要外,还以其鲜明的个性承载着人类文化功能。借助对《说文解字》“牛”部字文化生态考察,展示汉文化的独特魅力。

《规范汉字表》的研制

为了推行《国家通用语言文字法》 ,要有《规范汉字表》。研制《规范汉字表》就要对现有的规范进行整合与调整。《规范汉字表》的收字如果要和计算机字库的收字保持一致 ,可以设立四个分字表 ,就是常用字表、通用字表、罕用字表和备查字表。在字形方面 ,整理全等异体字 ,沿用《简化字总表》规定的简化字和类推简化 。