Chinese Rhyme Research Articles

朝鲜朝“汉语质正官”崔世珍及其成就

During the Korean Dynasty (1391-1910), the “quality officials” played an important role in the spread of Chinese to the Korean peninsula, and played an important role in the history of Sino Korean language and cultural exchanges. Cui Shizhen went to China for many times as a “quality official” to “improve Chinese”. As an important practitioner of “improve Chinese” activities, Cui Shizhen has played a positive role in promoting Chinese teaching and research in North Korea, and has a far-reaching impact. The research on Cui Shizhen's achievements in Sinology from the perspective of “quality and integrity” is of great value to the research on the history of Chinese phonology in East Asia and the comparative linguistics of East Asian history from the perspective of sinology abroad. The ancient rhyme script on the Korean Peninsula is included as an important part of the study of the history of Chinese rhyme script, which provides a new basis for promoting the collation and study of the ancient rhyme script on the Korean Peninsula in China, as well as the study of the history of regional language relations in Northeast Asia from the perspective of “regional countries”, the study of the history of the spread of Chinese culture outside the region, and the study of intangible cultural heritage between China and the Korean Peninsula. Cui Shizhen also presented Chinese books to the King of Korea in the above “True Records”. This shows that if the “quality official” is taken as a breakthrough, it will find a new support for the study of the origin and development of the Sino Korean (Korean) language and culture. The ancient rhyme script on the Korean Peninsula is an important part of the study of the history of rhyme script on China and the Korean Peninsula. It carries the excellent traditional culture of China and the Korean Peninsula, and reflects the diachronic evolution of language, literature, culture, ideology, education and other fields. “Quality officials” play an important role in the communication and acceptance of the above fields.

Clinical Analysis of Cochlear Implantation

Objective: To analyze the clinical ability of cochlear (CI).Methods: 100 sensorineural deaf patients with CI implantation 
 from January 2020 to January 2022 and 100 were included in the two groups, and then the 100 patients were divided into unilateral 
 implantation group (n=45) and bilateral implantation group (n=55), to compare the Chinese rhyme recognition accuracy between 
 the two groups.Results:> 80% were less than the healthy group (P 80% between 50-80% was slightly higher than the unilateral 
 implantation group, and slightly lower at 0.05).Conclusion: The Chinese voice rhyme recognition ability has recovered after CI 
 implantation, but there is still a gap with the recognition ability of healthy listeners, and the implantation side has little impact on 
 the Chinese voice rhyme recognition ability.

Visualizing Chinese nursery rhymes in contemporary picturebooks: a multimodal perspective

This study investigates how Chinese nursery rhymes are visualized in contemporary picturebooks from a multimodal perspective. The data for case analysis are selected from three Chinese rhyming picturebooks. Based on Jakobson’s (1959) typology of translation, this study regards picturebooks as multimodal texts and examines the adaptation of Chinese nursery rhymes into contemporary picturebooks as a process of intralingual and intersemiotic translations. It first analyzes the modern adaptations of traditional Chinese nursery rhymes in the verbal texts and then discusses the text-image interactions in picturebooks to explore the intersemiotic translation from the verbal to the visual. The research results indicate that the didactical function or political implication of traditional Chinese nursery rhymes is usually weakened or omitted in the intralingual translation, while more creative and amusing narrative rhymes are adapted to tailor for contemporary children’s hobbies and lifestyle. Besides, in the intersemiotic translation between texts and images in picturebooks, flexible and varied methods are employed according to different text-image interplays.

최석정의 ?훈민정음준황극경세사상체용지수도?와 소옹의 ?성음창화도?의 비교 연구

Shao Yong’s Shēngyīnchànghétú was introduced to the Korean peninsula in the 15th century with the spread of Xìnglǐdàquán. Shao’s ideological thought had a significant influence on the Chŏsun literati. Ch’oe Sŏk-chŏng was among them, and his phonological work called Kyŏngsehunminjŏngŭmdosŏl is strongly connected with Shao’s ideological thought. To understandKyŏngsehunminjŏngŭmdosŏl, one must analyze Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm as it is the core part of Kyŏngsehunminjŏngŭmdosŏl. As Ch’oe said that he edited Shao’s Shēngyīnchànghétú according to an “Old Sound” when designing Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm, this paper aims to compare the two works directly to discover their phonological relationship. Through this comparison, it was found that Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm is composed of two levels, which are a “Contemporary Sound (particular to the Northern Song dynasty)” and the “Old Sound.” The “Contemporary Sound” is consistent with the characteristics of Shao’s Shēngyīnchànghétú, such as the merger of Guǒ(果)·Jiǎ(假) rhymes, Gěng(梗)·Zēng(曾) rhymes, Shān(山)· Zhēn(臻) rhymes, and Zhǐ(止)·Xiè(蟹) rhymes respectively. In contrast, its “Old Sound” kept the traits of the traditional Chinese rhyme dictionary Guǎngyùn. For example, it maintained the coda of entering tones, and the full-voiced sounds did not change into clear sounds. Additionally, nasal coda rhymes were paired with entering tone rhymes in Sìxiàngtǐyòngzhīshùtú Following Hunminjŏngŭm, which is also consistent with Guǎngyùn.

Factors affecting L2 phonological awareness in Chinese-Dutch preschoolers

Abstract The present study compared the relationship between Dutch phonological awareness (rhyme awareness, initial phoneme isolation), Dutch speech decoding and Dutch receptive vocabulary in two groups in different linguistic environments: 30 Mandarin Chinese-Dutch bilingual children and 24 monolingual Dutch peers. Chinese vocabulary and phonological awareness were taken into account in the bilingual group. Bilingual children scored below their Dutch monolingual counterparts on all Dutch tasks. In the bilingual group, Dutch rhyme awareness was predicted by Dutch speech decoding, both directly, and indirectly via Dutch receptive vocabulary. When adding Chinese proficiency to the model, Chinese rhyme awareness was found to mediate the relationship between Dutch speech decoding and Dutch rhyme awareness. It can thus be concluded that second language (L2) phonological awareness in Chinese-Dutch kindergartners is affected by their L2 speech and vocabulary level, on the one hand, and their level of phonological awareness in the first language (L1).

To Make the Teaching and Learning of Chinese Rhyme More Intuitive by Various Means

Chinese rhyme, a traditional basic subject, is a required course for graduate students majoring in Chinese language. Because of its ancient and complex content, it determines the particularity of its teaching and learning, so it is of great significance to study its teaching strategies and learning methods. Practice has proved that it is an important way to achieve good results in teaching and learning to adopt diversified methods with different contents. In its theory teaching and learning, the use of diagram, comparison, list, illustration and other methods, it can make the profound and complex content intuitive and popular. In its practice teaching and learning, the use of investigation, record, description, discussion and other methods, can make the theory into practical skills, so that learning to apply, the effect is very significant. Over the years, in the rhyme teaching and learning of graduate students, we have been in the first monarch road to seek work, aimed at trying to breakthrough the bottleneck explore a new road from theory to practice, and establish a paradigm, in order to realize the subject the ultimate goal of teaching and learning, and make it play its proper role in the new era.

唐宋音에 걸친 遇攝韻의 字音形에 대하여

This study investigates the reflections of Group Ju(遇) in Sino-Japanese, So’on and To’on. The following conclusions were drawn from this study. 1) In grade Ⅰ, we find that the opened rhyme Mo(模) appears mainly as a -u type and another -o type. The -i type in So’on appears mainly as a -uu type and another -ou type as does the -uwo- type and -o type in To’on. 2) The following changes were found in the rhyme Mo(模). The rhyme Mo(模) changed from /ɑk/ to /ɑu/ in Old Chinese and changed to /ʌu/ in Ancient Chinese. The /ʌu/ of Ancient Chinese changed into four patterns as seen here, ①ʌu⇒əu, ②ʌu⇒əu⇒u, ③ʌu⇒əu⇒ou, ④ʌu⇒əu⇒o. 3) In grade Ⅲ, The opened rhyme Yu(魚) appears mainly as an -i type and as another 󰠏u type in So’on. It also appears mainly as a -jui type・-ii type and as another -woi type・-uu type in To’on. 4) In the rhyme Yu(魚) the/ iəï/ or /iəu/ in Ancient Chinese was also different in its direction. The rhyme Yu(魚) changed from Ancient Chinese into seven patterns, ①iəu⇒iu⇒jui⇒jy, ②iəu⇒iu ⇒u⇒y, ③iəu⇒iəui⇒jəi, ④iəu⇒iəui⇒jeui⇒eui⇒əi, ⑤iəu⇒io⇒o, ⑥iəï⇒iəi⇒ii, ⑦iəï⇒iəi ⇒ii⇒i. 5) The rhyme Yu(虞) came from the Early Ancient Chinese rhyme Yu(魚) and combined into the rhyme Yu(魚) in Middle Chinese. It then changed in a similar way to rhyme Yu(魚). 6))The dental and labial (tongue) sound of the rhyme Mo(模) in Sino-Japanese has a similarity to To’on which appears as /ou/, like Guangdong(廣東). This implies that the Sino-Japanese To’on originated in a Chinese southern direction.

한글 - 어떻게 제정되었나? -Ⅰ

This paper examines the creation process of Hangul from a new perspective. First, it is claimed that this new writing system, which King Sejong the Great himself invented and named Hunmin-jeongeum, is a set of phonetic symbols to represent the Sino-Korean pronunciation of Chinese characters. “Hunmin- jeongeum (訓民正音)” means the correct pronunciation of Chinese characters to be taught to the people. In other words, Hangul was made to represent the Sino-Korean pronunciation of Chinese characters based on Tongguk-jeongun (東國正韻), which is the book about the Sino-Korean pronunciation of Chinese characters that King Sejong had compiled by modifying the earlier Sino-Korean pronunciation of Chinese characters. Subsequently, King Sejong's second daughter, Princess Jeongui(貞懿), used Hunmin-jeongeum to indicate some phonological changes in the pronunciation of Chinese characters, and in the process, she realized that the new script could be used to represent Korean inflectional endings such as verbal inflectional suffixes, case markers, and particles. This recognition led her to use the new script to write the Korean language. During this period, the name of the new script was 'Eonmun (諺 文)', which literally means 'vulgar script,' and this name reflects the perception about Hangul viewed as a lower-level script compared to Chinese characters. During the period of Taehan Empire (大韓帝國), it was referred to as the 'national script (國文))' since Eonmun was considered a vulgar, depreciative term, but it was called Eonmun again during the period of Japanese colonial rule, and then the term Hangul was used in opposition to the use of the name. King Sejong initially invented only 27 letters to represent onset consonants, and they were used to transcribe Yùnhuì (韻會), the Chinese rhyme book. Then, a buddhist monk and scholar named Shinmi (信眉), a well-known authority on Buddhist scriptures of the period, participated in the creation of the new script, and letters for middle vocalic sounds of syllables, letters for vowels, were additionally invented. The characters of the writing system for Sanskrit, a language of ancient India, were divided into mātr (摩多) for vowels and vyanjana (体文) for consonants, and these letters were called 'half letter (半字),' and its education was called teaching alphabets or 'teaching half letter (半字敎)'. On the other hand, each letter of Siddham script represented a combination of a consonant and a vowel corresponding to a syllable, and this writing system was called 'full letter (滿字)'. The education of this script was called 'teaching full letter(滿字敎)', which refers to the education of Sanskrit characters or Siddham. Sanskrit characters are syllabic characters that represent combinations of consonants and vowels. Teaching of half and full characters (半滿二 敎) is an expression frequently appearing in Buddhist scriptures, and it refers to the education of Sanskrit characters. The renowned Buddhist monk, Shinmi, was well versed in Vyākaraṇa (毘伽羅論), the grammar of the ancient Indian inflectional language, and shèngmíng-jìlùn (聲明記 論), a phonological study of Vyākaraṇa, since he learned them through the Tripitaka Koreana of Buddhist scriptures. Thus, he contributed to the additional invention of 11 middle vocalic sound letters of Hunmin-jeongeum based on the mātr, vocalic letters of Sanskrit characters. Before that, 27 letters for consonants were created based on the onset consonant sounds of Chinese Phonology (聲韻學), and they were called 27 fănqìe (反切) letters. They are '27 Eonmun letters' mentioned in the letter of appeal that Choe. Manri (崔萬理) wrote against the creation of the new script.

Applying Encoding and Retrieval Techniques to Chinese Rhyme Reading in Advanced Placement Chinese Instruction

Applying Encoding and Retrieval Techniques to Chinese Rhyme Reading in Advanced Placement Chinese Instruction

Vowel purity and rhyme evidence in Old Chinese reconstruction

Rhyme patterns in Old Chinese poems are important for the reconstruction of Old Chinese pronunciation, as they provide evidence for groups of words which formerly had similar pronunciation. Rhyme patterns can also be used to test Old Chinese reconstruction systems for consistency and plausibility, as reconstruction systems should minimize the conflict with attested rhyme patterns. Here, we build on the idea that rhyming in Old Chinese followed the principle of vowel purity, a tendency to disallow rhymes of words with different vowels, to develop a quantitative test for reconstruction systems of Old Chinese. The test is illustrated by comparing seven different Old Chinese reconstruction systems and by showing that, although the systems differ regarding their degree of vowel purity, the principle seems to hold for Old Chinese rhyme data.

西夏韻書分轉所反映的複聲母與韻母系統

The reconstruction of Tangut pronunciation has been advanced by several scholars. Gong Hwang-cherng’s reconstruction is even more outstanding. His remarkable insight is that the third and the fourth class (děng) belonging to different rhymes have the same reconstruction. However, his Tangut reconstruction, with few consonant clusters, resembles Loloish rather than Qiangic. The present study puts forward that the Tangut rhyme dictionaries with 105 rhymes were made by simulating Chinese rhyme dictionaries. The six monophthongs “i, ɯ, u, e, a, o” and the two diphthongs “eu, ou” form eight broad rhyme groups (shè). The first class has no (or -0) medial; the second class the -r medial; the third and the fourth classes the -j medial. A class is divided into four turns (zhuǎn): the first turn (R1-60) has the zero, nasal or w- pre-initial; the second turn (R61-75) has the l-, s- or x- pre-initial; the third turn (R76-98) has the r- pre-initial (similar to M. V. Sofronov’s proposal); the fourth turn (R99-105) is for further supplements. The author reconstructs phonetic values for the rhymes of each turn. Hereby, the system of the consonant clusters in Tangut can be regularly reconstructed according to the phonological records in the rhyme dictionaries. This solution is further supported by observations on some languages related to Qiangic. When we compare several cognates and morphological changes in the Horpa language, we can see some items similar to the present reconstruction. 西夏文擬音經海內外諸家研究已經取得很大成就，龔煌城先生的系統更為出色，三四等不同韻而擬音相同尤為高見。惜複輔音擬得太少，以致面貌不像羌語支語言而像彝語。本文提出西夏韻書分105韻乃依傍漢語等韻，本六元音i、ɯ、u、e、a、o加eu、ou合為八攝，依聲母墊尾性質分一等 -∅、二等 -r、三四等 -j，各攝元音重複迴環再分為四轉。分轉所據不是韻母元音本身區別，乃兼顧前接聲母的冠音區別：1轉（R1-60）為∅- 冠、鼻冠、w- 冠，2轉（R61-75）為l-、s-、x- 冠，3轉（R76-98）為r- 冠（蘇敏也曾提r-），4轉（R99-105擴至七韻）補遺特讀。並為每轉各韻具體擬音。據此西夏語複輔音系統可按韻書音韻地位有規律恢復。此乃觀察羌語支近緣語言所得結果，試比較西夏近緣的道孚等語言同源詞與語法變化，可看到與以上擬音相近似的變化。(This article is in Chinese.)

First‐Language Longitudinal Predictors of Second‐Language Literacy in Young L2 Learners

AbstractCan young students’ early reading abilities in their first language (L1) predict later literacy development in a second language (L2)? The cross‐language relationships between Chinese (L1) and English (L2) among 87 Hong Kong students were explored in a longitudinal study. Chinese word‐reading fluency, Chinese rapid digit naming, and Chinese rhyme awareness at age 7 (grade 1), with age and IQ taken into account, were significant concurrent and longitudinal predictors of English word reading, and text‐level reading and writing skills across ages 7–10. These three Chinese measures together accounted for 16–28% of unique variance in the English literacy tasks across the three‐year period. Students who showed word‐reading difficulties in Chinese in grade 1 also performed more poorly than average Chinese readers in English reading and related cognitive tasks later on, especially on phonological tasks. The results provided evidence for the cross‐language transfer of cognitive‐linguistic abilities between two distinctly different orthographies. L1 markers underlying reading difficulties in both L1 and L2 can serve as early indicators of possible reading problems that may arise later in L2. These findings have clinical, educational, and theoretical implications.

Transfer of reading-related cognitive skills in learning to read Chinese (L1) and English (L2) among Chinese elementary school children

This study investigated transfer of reading-related cognitive skills between learning to read Chinese (L1) and English (L2) among Chinese children in Hong Kong. Fifty-three Grade 2 students were tested on word reading, phonological, orthographic and rapid naming skills in Chinese (L1) and English (L2). The major findings were: (a) significant correlations between Chinese and English measures in phonological awareness and rapid naming, but not in orthographic skills; (b) significant unique contribution of Chinese and English rapid naming skills and English rhyme awareness for predicting Chinese word reading after controlling for all the Chinese and English cognitive measures; (c) significant unique contribution of English phonological skills and Chinese orthographic skills (a negative one) for predicting English word reading after controlling for all the English and Chinese cognitive measures; and (d) significant unique contribution of Chinese rhyme awareness for predicting English phonemic awareness. These findings provide initial evidence that developing reading-related cognitive skills in English may have facilitative effects on Chinese word reading development. They also suggest that Chinese orthographic skills or tactics may not be helpful for learning to read English words among ESL learners; and that Chinese rhyme awareness facilitates the development of English phonemic awareness which is an essential skill predicting ESL learning.

Phonological Evolution of the Chinese Rhymes: Wei to Liang

This paper traces the evolution of the Chinese rhymes from the Wei Dynasty into the Liang Dynasty. The assumption is made that the rhyming of the poets of this period reflected their literary dialect and following this the evolutionary path taken by the rhymes serves as a guide to their phonological evolution. A reconstruction of the rhymes and finals based on this evolution is offered and some mention of the various dialects re-

Book Review: Chinese Rhymes for Children: With a Few from India, Japan and Korea

Book Review: Chinese Rhymes for Children: With a Few from India, Japan and Korea