By Perry Link
During the Cultural Revolution, Mao exhorted the chinese language humans to “smash the 4 olds”: outdated customs, previous tradition, outdated behavior, and previous rules. but while the pink Guards in Tiananmen sq. chanted “We are looking to see Chairman Mao,” they unknowingly used a classical rhythm that dates again to the Han interval and is the very embodiment of the 4 olds. An Anatomy of Chinese finds how rhythms, conceptual metaphors, and political language show widely used meanings of which chinese language audio system themselves will not be consciously acutely aware, and contributes to the continued debate over even if language shapes idea, or vice versa.
Perry Link’s inquiry into the workings of chinese language unearths convergences and divergences with English, such a lot strikingly within the zone of conceptual metaphor. diverse spatial metaphors for realization, for example, suggest that English audio system get up whereas audio system of chinese language wake throughout. different underlying metaphors within the languages are related, lending aid to theories that find the origins of language within the mind. the excellence among daily-life language and professional language has been strangely major in modern China, and hyperlink explores how traditional voters learn how to play language video games, artfully wielding officialese to enhance their pursuits or shield themselves from others.
Particularly provocative is Link’s attention of ways Indo-European languages, with their choice for summary nouns, generate philosophical puzzles that chinese language, with its choice for verbs, avoids. The mind-body challenge that has plagued Western tradition will be essentially much less challenging for audio system of Chinese.
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Additional info for An Anatomy of Chinese: Rhythm, Metaphor, Politics
Hu Shi 㚵䘽, “Wenxue gailiang chuyi” ᭛ᅌᬍ㡃㢏䅄, Xinqingnian ᮄ䴦ᑈ [New youth], no. 1 (January 1, 1917). 38. Hu Shi 㚵䘽, “Qingdai xuezhe de zhixue fangfa” ⏙ҷᅌ㗙ⱘ⊏ᅌᮍ⊩ (1921) in Hu Shi wencun 㚵䘽᭛ᄬ (Collected works of Hu Shi), collection 1, volume 2 (Hefei: Anhui jiaoyu chubanshe, 2003) (1921). 39. Chen Duxiu 䱇⤼⾔, “Wenxue geming lun,” Xinqingnian ᮄ䴦ᑈ [New youth], no. 2 (February 1, 1917). An Anatomy of Chinese 44 in a classical style that can only be called fairly ornate and a bit extravagant. ” Two levels of awareness—focused consciousness and inadvertent habit— are in play.
Examples of other two-syllable words or phrases are innumerable. Rhythmic patterns become more complex, as we shall see, when three or more syllables are involved. ” The ability to recognize that “something’s wrong” in cases like this extends well beyond the small group of people who can explain—in terms of syllables, stresses, and so on—why it is wrong. This simple example shows that there are two levels in what we can mean by “awareness” of stresses or rhythms. ” When used incorrectly, it sounds wrong.
I am indebted to David Moser for the example and for the “come in a flash, go with a flush” translation cited below. Email message to author, May 8, 2004. 32. I am indebted to Hu Ping for this example. Email message to author, June 9, 2007. An Anatomy of Chinese 40 ৃҹ⏙ᖗг ҹ⏙ᖗгৃ ⏙ᖗгৃҹ ᖗгৃҹ⏙ гৃҹ⏙ᖗ You can clear the mind You can also take it as mind-clearing Clearing the mind is also possible The mind, too, can be cleared You can clear the mind, too But if morphemes are almost always monosyllabic in Chinese, it is quite another matter, and grossly incorrect, to say that words are.
An Anatomy of Chinese: Rhythm, Metaphor, Politics by Perry Link