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.

Typos Correction in Overseas Chinese Learning Based on Chinese Character Semantic Knowledge Graph

In recent years, more and more foreigners begin to learn Chinese characters, but they often make typos when using Chinese. The fundamental reason is that they mainly learn Chinese characters from the glyph and pronunciation, but do not master the semantics of Chinese characters. If they can understand the meaning of Chinese characters and form knowledge groups of the characters with relevant meanings, it can effectively improve learning efficiency. We achieve this goal by building a Chinese character semantic knowledge graph (CCSKG). In the process of building the knowledge graph, the semantic computing capacity of HowNet was utilized, and 104,187 associated edges were finally established for 6752 Chinese characters. Thanks to the development of deep learning, OpenHowNet releases the core data of HowNet and provides useful APIs for calculating the similarity between two words based on sememes. Therefore our method combines the advantages of data-driven and knowledge-driven. The proposed method treats Chinese sentences as subgraphs of the CCSKG and uses graph algorithms to correct Chinese typos and achieve good results. The experimental results show that compared with keras-bert and pycorrector + ernie, our method reduces the false acceptance rate by 38.28% and improves the recall rate by 40.91% in the field of learning Chinese as a foreign language. The CCSKG can help to promote Chinese overseas communication and international education.

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.

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。

汉字学视角下蒙古族刺绣信息转译与数字化研究

目的研究蒙古族刺绣和汉字的转译路径,从文化转译和符号转译的角度,构建蒙古族刺绣数字化传播的新方法。方法首先,运用汉字学中的构形和构意理论,分析汉字的笔画、部件和结构;其次,结合汉字学及符号学中索绪尔提出的能指和所指,对蒙古族刺绣纹样进行分析、拆解和提取;随后,整理上述分析结论,形成基于笔画数据库与构件数据库的图文语言转译单元;最后,根据数据库生成蒙古族刺绣的汉字转译样本。结果总结蒙古族刺绣纹样与汉字转译路径,将数据库的部件进行汉字的组合及生成,形成具有蒙古族刺绣元素和特征的汉字形态。结论以汉字学和符号学构成的转译路径赋能蒙古族刺绣活态转化,以文化转化和再生的视角促进非物质文化遗产的创新性发展,形成具有传播性和多元性的蒙古族刺绣数字化研究新形态。

“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。

专题数据库建设与《汉语大字典》的修订

《汉语大字典》(第2版)的音义匹配关系是汉语音义学研究的重要内容。《汉语大字典》不仅在释义、字形、注音、术语等方面存在问题,而且关联错讹问题更为突出,在文字不同形体的对应、字音与释义、义项与释义、新旧字形与义项、义项与书证、术语与字际关系等方面均存在不同程度的抵牾。专题数据库对于《汉语大字典》的修订完善有重要意义。修订完善《汉语大字典》有必要着力解决专题数据库建设和专题数据库关联平台建设两个问题。建设专题数据库和关联平台数据库的途径包括:汇集与校勘已有《汉大》研究成果,再加工与融合已有汉语或汉字信息数据库,梳理与对齐新出土或新见文献,等等。采用元数据、知识图谱、语义关联等计算机技术,可以很好地实现上述目标,把汉字形、音、义、引文信息与《汉语大字典》修订完善工作有机结合起来。

基于中国古典诗词韵部的汉字数字化处理与形音义相关性研究

本文从汉字的形音义联系着手,利用数字化技术处理汉字结构及声律问题.从具有鲜明韵律特征的中国古典诗词韵部出发,选取平水韵中的平仄两种调类作为古音分类的参考依据,包括平声字共4719字,仄声字共6857字.利用像素重叠技术,叠加平水韵中所有的平、仄字至九宫格中,统计分析其字形差异,再通过形态分割提取对应构件进行语义分析.结合《说文解字》释义,本文发现,平声字与仄声字在形态结构上具有部分显著差异,这是因为平声字更多地使用与动物义相关的构件.本文在数字化视域下,首次对汉字形音义相关性进行了宏观特征初探,为未来的汉字数字化研究提供了一个新思路.

“趣”字语义层面、审美范畴及审美涵义探究

在汉语中,“趣”字的使用历史悠久,其意义较多,有的意义存在时间极短,有的意义至今依然鲜活。语音层面之“趣”,读音有四种;语义层面之“趣”,意义概归七类。经过两千多年的萌生、拓展、深化和定型后,“趣”的审美意义逐步提升为审美范畴的一种。“趣”的审美涵义有旨趣、情趣、风致、兴致、志趣等五类义项。

认知隐喻和转喻理论在甲骨文字料库建设中的应用

汉字研究在计算机技术的加成下形成一些新的领域,其中一个重要的分支是汉字字料库的建设与应用。甲骨文作为汉字的早期形态,在字料库中是不可或缺的部分。但是,针对甲骨文字形的专门字料库极少,对于甲骨文资源的收集和整理工作还不充分。更重要的是,已有的甲骨文字料库在汉字理论基础上还有不足,无法呈现甲骨文字形和语义之间的内在联系,也难以体现字形之间的互联关系。这就需要相应汉字研究理论的介入。认知语言学的隐喻和转喻理论为甲骨文形意关系的内在逻辑提供较为有效的解决方案,可以融入甲骨文字料库建设,完善其结构体系,拓展其应用领域。借助于甲骨文字形的认知理据,我们可以对已有的文化产品进行升级,开发新的文化创新产品,推动甲骨文化在现代社会的传承和创新。

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 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 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 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

古汉字中的力学观念

通过对三个古汉字“力、劦、动”字形与源流的解读,分析了隐藏在古汉字中的力学观念,揭示了它们起源于华夏先民对自然界中一些力学现象直观、朴素的认识。