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Yin, Yuxia. "Review of Zhang (2018): Second Language Acquisition of Mandarin Chinese Tones: Beyond First Language Transfer." International Journal of Chinese Linguistics 8, no. 1 (June 1, 2021): 169–76. http://dx.doi.org/10.1075/ijchl.00013.yin.
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Li, Qian, Yiya Chen, and Ziyu Xiong. "Tianjin Mandarin." Journal of the International Phonetic Association 49, no. 1 (July 12, 2017): 109–28. http://dx.doi.org/10.1017/s0025100317000287.
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Tianjin Mandarin is a member of the northern Mandarin Chinese family (ISO 693-3: [cmn]). It is spoken in the urban areas of the Tianjin Municipality (CN-12) in the People's Republic of China, which is about 120 kilometers to the southeast of Beijing. Existing studies on Tianjin Mandarin have focused mainly on its tonal aspects, especially its intriguing tone sandhi system, with few studies examining the segmental aspects (on tone, see e.g. Li & Liu 1985, Shi 1986, Liu 1993, Lu 1997, Wang & Jiang 1997, Chen 2000, Liu & Gao 2003, Ma 2005, Ma & Jia 2006, Zhang & Liu 2011, Li & Chen 2016; on segmental aspects, see e.g. Han 1993a, b; Wee, Yan & Chen 2005). As also noted in Wee et al. (2005), this is probably due to the similarity in segmental structures between Tianjin Mandarin and Standard Chinese, especially among speakers of the younger generation, and what differentiates the two Mandarin varieties is most notably their tonal systems. The aim of the present description is therefore to provide a systematic phonetic description of both segmental and tonal aspects of Tianjin Mandarin, with main focus on the tonal aspects.
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CHEN, Zhiwei. "儒家觀念與現代同性婚姻的可能性——兼及我們對待傳統的態度." International Journal of Chinese & Comparative Philosophy of Medicine 16, no. 2 (January 1, 2018): 93–97. http://dx.doi.org/10.24112/ijccpm.161654.
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LANGUAGE NOTE | Document text in Chinese; abstract in English only.Professor Zhang Xianglong responded to the issue of legalization of same-sex marriage from the perspective of Confucianism, and expounded the possible attitude of Confucianism towards this issue. His ideas are new and important, but he may have neglected the applicability of Confucianism in modern society. If Chinese traditional culture, especially some specific Confucian concepts, such as Yin and Yang, male and female, patriarchal law, etc., does not undergo the transformation of modernity and is weighed against Western concepts, its power to explain the problems in the process of modernization will be greatly reduced.DOWNLOAD HISTORY | This article has been downloaded 166 times in Digital Commons before migrating into this platform.
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Zhang, Wei. "The Development of Marxist Shakespearean Criticism in China." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 99–113. http://dx.doi.org/10.18778/2083-8530.20.08.
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Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.
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Parveen, Khalida, and Huma Akram. "Insight of Chinese culture by viewing historical picture of Qin Dynasty." Journal of Social Sciences Advancement 2, no. 1 (March 20, 2021): 17–24. http://dx.doi.org/10.52223/jssa21-020103-08.
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Over the centuries, China still respectfully treasures rich Asian cultures, traditions, and customs. China is now famous all over the world for its mysterious wonders and cultural & natural heritages such as the Great Wall, the Forbidden City, the Terracotta Army, etc. The Chinese history is full with the exposition of outstanding features of Chinese culture such as great thoughts of Confucius, religious beliefs, traditional festivals and customs e.g., Chinese new year, language and calligraphy e.g., Shu Fa, four great inventions of ancient China e.g., papermaking, printing, gunpowder and the compass, traditional architecture and sculpture, traditional art forms, etc. The era of history of China before the time in power of Qin dynasty is known by name as the period of Warring States. This period started from 475 BC and ends at 221 BC. Seven Warring States were included in it i.e. Qin, Wei, Han, Yan, Chu, Zhao, and Qi. Zheng was the King of Qin, who started his journey to triumph over 6 states in the period of 230 BC. Qin was the 1st emperor of this unified state of China. Thus he was known by the name of “First Emperor of Qin” or “Qin Shi Huang”. This study provides a deep insight of Chinese history and it is illustrated that major achievements in Chinese culture and history are contributed in the era of Qin dynasty.
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Hu Xiaoqiong, Betsy. "Keep off the grass? No way!" English Today 32, no. 1 (December 18, 2015): 21–27. http://dx.doi.org/10.1017/s0266078415000498.
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China's rapid economic development has helped to raise the international status of Mandarin. One prediction is that ‘in ten years, Mandarin will be as important worldwide as English’ (Trudgill, 2014: 387). Another even greater change resulting from China's economic growth is the increasing popularity that English enjoys in China (Hu, 2004, 2005; Hu, 2009; Zhang, 2012; Werner, 2014). English is now used in a wide range of fields and contexts throughout the country. This is not surprising given the dominance of the English language on a global scale. English, now increasingly employed together with Chinese to combine global with local appeal, functions ‘as an index of modernity, progress, internationalism and globalization, a symbol of success, sophistication and projection into the future’ (Vettorel, 2013: 262). One indicator illustrating this phenomenon is the widespread use of public signs in both Chinese and English. Some authors argue that this use of bilingual signs has resulted in the creation of ‘an attractive linguistic landscape’ in China (Yang & Liu, 2008:79). Accordingly, research on bilingual public signs has, in recent years, become ‘a hot area in the translation field’ (Zou et al, 2011:27), attracting the attention of a growing number of scholars (e.g. Dai & Lü, 2005; Song, 2013; Chen, 2014).
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Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.
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Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.
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Almonte, Victoria. "Identifying the Country of Meilugudun and the Significant Value of Zhou Qufei’s Lingwai daida." Ming Qing Yanjiu 21, no. 1 (February 13, 2017): 1–43. http://dx.doi.org/10.1163/24684791-12340012.
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Abstract During the last century, considerable interest arose regarding Chinese knowledge of western territories, with a long list of works being published on the topic. Joseph Needham’s Science and Civilisation in China (1959) states that Arab thinking had clearly influenced the Chinese conception of geography over the centuries. Zhang Xinglang analyses the relationship between the Chinese empire and countries overseas, focusing on Islamic countries and particularly those in the north of Africa. Feng Chengjun’s western territories toponyms and Gudai nanhai diming huishi have provided two powerful and even fundamental tools for the research presented here. The first gathers together a large collection of toponyms from various literary works; these are written in western language with their relative transcription or translation in Chinese. The second, the Gudai nanhai diming huishi, is divided in two volumes analysing many Chinese toponyms and their use in several geographical works. Li Qingxin’s Haishang Sichou zhilu, focuses on the development of the Maritime Silk Road and its economic-political consequences for China’s empire. Gabriele Foccardi’s research focuses instead on the motives for Chinese travellers and their expeditions, highlighting the historical and social differences between the different dynasties. Friedrich Hirth and William Rockhill provide a crucial literary resource with their translation of Zhao Rukuo’s work, Zhufanzhi (1966), as does J.V.G. Mills with his annotated translation of Ma Huan’s Yingya shenglan, a journey work of the fifteenth century. Yang Wuquan’s research into Zhou Qufei’s work, published in 1999, identifies several toponyms used by Zhou and compares several foreign geographical works. Zhou Qufei and Zhao Rukuo were both imperial officials during the Southern Song dynasty. They spent many years in the border territories of China: Zhou Qufei in Qinzhou, Guangxi province, and Zhao Rukuo in Quanzhou, Fujian province. Their works mention several toponyms never used before in Chinese texts: ‘Meilugudun’, or ‘Meilugu’ (as written by Zhao Rukuo), is one of these. The identification of this toponym has not been determined until now. Therefore, the aim of this paper is to determine which kingdom was identified with the ‘Meilugudun’ toponym during the Song Dynasty. Two different questions are here discussed and resolved. First, can the land of Meilugudun be identified with the city of Merv in Turkmenistan? Second, do Zhou’s ‘Meilugudun’ and Zhao’s ‘Meilugu’ both stand for the same place? This paper can be divided into four sections. The first section focuses on Zhou Qufei, the second on Zhao Rukuo. The third analyses and compares previous scholars’ studies. The fourth proposes the new identification of the Meilugudun kingdom.
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Long, Haiping, and Pengfei Kuang. "Modern Chinese confirmative shi." Functions of Language 24, no. 3 (December 31, 2017): 294–318. http://dx.doi.org/10.1075/fol.15018.lon.
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Abstract Modern Chinese confirmative shi (as in mei cuo, wo shi yao dusi ni (沒錯，我是要毒死你) ‘that’s right. I really wanted to poison you to death’) is not an auxiliary but an adverb. It derives from the adjective shi ‘true, real’ in Old Chinese (Yan zhi yan shi ye (偃之言是也) ‘what Yan said was true’). The grammaticalization pathway of the Modern Chinese confirmative shi is different from that of the copula shi (Laozhang shi huoche siji (老張是貨車司機) ‘Laozhang is a truck driver’) or the auxiliary shi (Laozhang shi kai huoche, wo shi kai keche (老張是開貨車，我是開客車) ‘Laozhang drives a truck and I drive a coach car’). Modern Chinese confirmative shi, copula shi, and auxiliary shi have the same morphological form because they all appear to derive from the adjective shi or demonstrative ( shi ke ren, shu bu ke ren ( 是可忍，孰不可忍) ‘if this could be endured, is there anything else that could not be endured’) in Old Chinese. Such a pattern of morphological sameness seems to be cross-linguistically rare, if not unique.
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Zhan, Hongwei. "Zhang, N. (2015). Cognitive Chinese grammar." Review of Cognitive Linguistics 15, no. 1 (August 18, 2017): 297–303. http://dx.doi.org/10.1075/rcl.15.1.12zha.
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Janarto, Daru Kabeka. "Pembelajaran Interdisipliner: Upaya Mengapresiasi Sastra Secara Holistik." Humaniora 1, no. 2 (October 31, 2010): 522. http://dx.doi.org/10.21512/humaniora.v1i2.2893.
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The research is regarding 4 class cycle about interdisciplinary teaching technique of literature teaching in BINUS International School Simprug, Jakarta. The interdisplinary teaching is done in grade 10 in 3 subjects of Indonesian Language and Literature, Computer (IT), and Visual Arts. The teaching topic is Ma Yan, a novel about Muslim teenager who struggles for education in Zhang Jiashu, a remote village in China. This teaching climax is talk show with the writer of Ma Yan and its publisher followed with visual arts show from the students. The observation result shows that talent and involvement of students are high through the learning materials, proved by assignments done in time and their antusiasm towards their projects and assignments.
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Wu, Shuqiong. "Review of Shu, Zhang & Zhang (2019): Cognitive Linguistics and the study of Chinese." Review of Cognitive Linguistics 18, no. 2 (December 4, 2020): 590–95. http://dx.doi.org/10.1075/rcl.00072.wu.
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Dew, James E. "Review of Zhang (2010): Using Chinese Synonyms." Chinese Language and Discourse 3, no. 2 (December 14, 2012): 284–86. http://dx.doi.org/10.1075/cld.3.2.08dew.
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Mason, Russ. "Zheng Manqing: el Salón Conmemorativo y el legado del Maestro de las Cinco Excelencias en Taiwán." Revista de Artes Marciales Asiáticas 3, no. 4 (July 19, 2012): 34. http://dx.doi.org/10.18002/rama.v3i4.388.
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<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">Professor Zheng Manqing (1902-1975), a fine artist and a notable taijiquan disciple of Yang Chengfu, emigrated to Taiwan in 1949 following the Chinese civil war between the Guomindang and Maoist factions. Under Republic of China President Chiang Kai-shek’s Cultural Renaissance Movement, Zheng played an important role in preserving the cultural treasures of traditional China. During the period of Mao Zedong’s Cultural Revolution when the Mainland was veiled to foreign eyes behind the Bamboo Curtain, Zheng was instrumental in introducing taijiquan and other elements of Chinese culture to the West. Zheng passed away at his home in Yonghe, Taiwan in 1975 but not before establishing an international reputation for his mastery in taijiquan and other arts. Recently, a portion of his former residence was converted into a memorial hall (the Zheng Manqing Jinian Guan) by senior students interested in preserving his martial tradition, paintings, calligraphy, and other artifacts. This article provides a brief history of Zheng’s life and his legacy in Taiwan, as well as a photographic tour of the Zheng Manqing Memorial Hall.</span></span></span></p>
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Luo, Han. "Dingfang Shu, Hui Zhang, and Lifei Zhang. 2019. Cognitive Linguistics and the Study of Chinese." Chinese Language and Discourse 11, no. 2 (November 24, 2020): 355–63. http://dx.doi.org/10.1075/cld.00029.luo.
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Du, Hui, and Hongdi Guan. "Hindrances to the new teaching goals of College English in China." English Today 32, no. 1 (December 10, 2015): 12–17. http://dx.doi.org/10.1017/s0266078415000462.
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College English refers to a type of English course offered to non-English majors at tertiary level in mainland China. In recent years, however, College English has been criticised as ‘deaf and dumb English’ (Wu, 2004; Zhang, 2002) because of Chinese students’ perceived weaknesses in listening and speaking. As Zhang (2002), Director of the Department of Higher Education in the Chinese Ministry of Education (MOE), explains, ‘Chinese university students can neither speak English nor understand it when they hear the language spoken’ (p. 4). To improve the situation, Zhang urges that ‘[w]hile reading has to be reduced properly, listening and speaking should be increased in College English textbooks’ (ibid.: 5). In other words, it is listening and speaking rather than reading that should be emphasised.
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Kim, Hyun-cheol, and A.-Young Kim. "A Study on Yeoulwoon Zhang Ji-young’s Chinese Textbook Manchuria Language Lecture." Journal of Chinese Language and Literature 125 (December 31, 2020): 7–29. http://dx.doi.org/10.25021/jcll.2020.12.125.7.
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Qian, Suoqiao. "The Mad Chinese Man in America: Zhang Xiguo’s .Wife Killing." Journal of American-East Asian Relations 12, no. 3-4 (2003): 191–206. http://dx.doi.org/10.1163/187656103793645270.
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AbstractAsian immigrant literature has attracted far less attention than it deserves in Asian-American studies. Almost exclusive attention has been paid to English-language texts while Asian immigrant literature is multilingual. In deploring such monolingual prejudice, Werner Sollors has recently made an urgent and groundbreaking plea “for a multilingual turn in American Studies.”
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PIL, MOONSU. "Reading Chinese Writing from the Perspective of Post-immigration : Focusing on the North American Chinese Scholar Shu-mei Shih and the Chinese Writer Yan Geling and Zhang Ling." Journal of Modern Chinese Literature 85 (April 30, 2018): 73–96. http://dx.doi.org/10.46487/jmcl.2018.04.85.73.
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Yang, Lei. "Comprehensible narratives and connected grammar." Chinese as a Second Language (漢語教學研究—美國中文教師學會學報). The journal of the Chinese Language Teachers Association, USA 55, no. 3 (December 31, 2020): 193–207. http://dx.doi.org/10.1075/csl.20010.yan.
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Abstract Classical Chinese is an integral component of the Chinese language curriculum at many American universities. However, which texts should be taught and how their grammar should be introduced in a textbook, are questions that have seldom been discussed. This article focuses on the selection of original texts and the mode of grammar explanation in an introductory-level textbook for undergraduate students who study Chinese as a second language. In the United States, more and more students study Classical Chinese for Mandarin-proficiency improvement and Chinese cultural perceptions. Responding to the trend, I argue that narrative texts and comparative grammar explanation would not only render a textbook more comprehensible and engaging, but also advance the learner’s practice of Classical Chinese knowledge in Modern Chinese production. This new design thus effectively connects Classical and Modern Chinese in both “content” and “form,” providing a new perspective to the curriculum development of overseas Chinese programs.
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Zhuo, Yating, and Min Zhu. "A Study on the Metaphor Translation Strategies in Selected Modern Chinese Essays 1 by Zhang Peiji from the Perspective of Conceptual Blending Theory." English Linguistics Research 10, no. 3 (August 12, 2021): 55. http://dx.doi.org/10.5430/elr.v10n3p55.
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According to the analytical framework of the three basic network models in Conceptual Blending Theory, this thesis dynamically presents the metaphor translation process and the choice of translation strategies in Selected Modern Chinese Essays 1 translated by Zhang Peiji. The study finds out that in Mirror Network Model, Zhang usually adopts literal translation while preserving the metaphorical image since the original metaphor shares the same organizational framework in both source culture and target culture; when it comes to One-scope Network Model, a majority of metaphorical images are omitted to achieve better readability while still some others are preserved to spread Chinese culture and introduce more cognitive models to target readers. And in both ways, paraphrases are added to deepen target readers’ understanding of the source text; with regard to Two-scope Network Model, Zhang mainly adopts the translation strategy of replacement with metaphors that accord with the target language, which enables him to build a bridge between the cultures of the source language and the target language.
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Yang, Xiaolong, and Yicheng Wu. "Efficiency in shaping grammars." Pragmatics and Society 12, no. 2 (June 3, 2021): 223–41. http://dx.doi.org/10.1075/ps.17031.yan.
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Abstract Hawkins (1994, 1999, 2004, 2014a) proposes a performance-grammar correspondence hypothesis, claiming that grammars can be shaped by processing systems with reference to the degree of preference in communication. Given that Hawkins’s proposal mainly highlights the role of efficiency in language comprehension, this paper demonstrates that parsing principles can also be employed to account for language production. Based on an analysis of the production mechanism behind multiple occurrences of the Chinese reflexive ziji ‘self’ in a single clause, it shows that the notion of intersubjectivity can sometimes play a significant role in sentence planning, in the sense that the Chinese reflexive assists speakers to produce an utterance in line with the principle of efficiency, which will in turn help hearers compute the intended meaning by identifying potential referents.
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SIMMONS, RICHARD VANNESS. "Confucius's Analects: An Advanced Reader of Chinese Language & Culture by CHEN, ZU-YAN." Modern Language Journal 96, no. 1 (March 2012): 143–44. http://dx.doi.org/10.1111/j.1540-4781.2012.1315.x.
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Tahsildar, Mohammad Nasim. "Investigating Features Related to Chinese Linguistic Complexities among International Students Learning Chinese as a Foreign Language." International Journal of Theory and Application in Elementary and Secondary School Education 1, no. 1 (April 25, 2019): 57–70. http://dx.doi.org/10.31098/ijtaese.v1i1.2.
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This paper reports on a study investigating features related to Chinese linguistic complexities for international students enrolled in Chinese courses in China. The main objective of this study is to highlight the major feature of Chinese complexities encountered by international students and explore whether international students’ native languages interfere with the process of learning Chinese. The study used a survey questionnaire developed by Zhang (2013) to collect the data from 147 male and female Bachelor, Master and Ph.D. students enrolled in basic Chinese classes in two universities in China. Based on certain Descriptive and ANOVA calculations, findings of the study indicate that the participants indeed experienced different features related to linguistic complexities. Moreover, the results also revealed the participants’ native language interference in the process of learning Chinese.
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Tahsildar, Mohammad Nasim. "Investigating Features Related to Chinese Linguistic Complexities among International Students Learning Chinese as a Foreign Language." International Journal of Theory and Application in Elementary and Secondary School Education 1, no. 1 (April 30, 2019): 57–70. http://dx.doi.org/10.31098/ijtaese.v1i1.25.
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This paper reports on a study investigating features related to Chinese linguistic complexities for international students enrolled in Chinese courses in China. The main objective of this study is to highlight the major feature of Chinese complexities encountered by international students and explore whether international students’ native languages interfere with the process of learning Chinese. The study used a survey questionnaire developed by Zhang (2013) to collect the data from 147 male and female Bachelor, Master and Ph.D. students enrolled in basic Chinese classes in two universities in China. Based on certain Descriptive and ANOVA calculations, findings of the study indicate that the participants indeed experienced different features related to linguistic complexities. Moreover, the results also revealed the participants’ native language interference in the process of learning Chinese.
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Xu, Mingwu, and Chuanmao Tian. "Is ‘NBA’ Chinese or English?" English Today 33, no. 4 (July 10, 2017): 33–39. http://dx.doi.org/10.1017/s0266078417000232.
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In recent years, the use of foreign loanwords in Chinese has increased significantly. It has been estimated that there are currently about 3,000 foreign words in Chinese, most of which are related to English (Zhang, 2006). Of these, more than 500 words are frequently used, together with their abbreviations and translations. In response to this situation, the Chinese government established the Inter-ministerial Joint Meeting on Chinese Language Translation and Writing Specifications (IJM-CLTWS) in 2012, consisting of ten state-level ministries and institutions such as the State Language Commission, the Central Compilation & Translation Bureau, the Ministry of Foreign Affairs and the Ministry of Education. Thus far, the expert committee of the IJM-CLTWS has identified four groups of foreign words and their standard Chinese translations.
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Chang, Eileen. "Chinese Translation: A Vehicle of Cultural Influence." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 488–99. http://dx.doi.org/10.1632/pmla.2015.130.2.488.
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Translation played a central role in the life of Eileen Chang (Zhang Ailing, 1920-95). One of the most iconic figures in twentieth-century Chinese literature, Chang also wrote extensively in English throughout her career, which began in the early 1940s in Japanese-occupied Shanghai. She achieved fame quickly but fell into obscurity after the war ended in 1945. Chang stayed in Shanghai through the 1949 Communist revolution and in 1952 moved to Hong Kong, where she worked as a freelance translator and writer for the United States Information Service and wrote two anti-Communist novels in English and Chinese, The Rice-Sprout Song (1955) and Naked Earth (1956).
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Ma, Yongqiang, and Renqiang Wang. "Liwei Jiao, Yan Yang and Wei Liu. 2019. A Thematic Dictionary of Contemporary Chinese." International Journal of Lexicography 33, no. 3 (February 25, 2020): 358–63. http://dx.doi.org/10.1093/ijl/ecaa001.
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Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.
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Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano music of various genres. Piano works by Zhang Zhao adorned the world culture with the introduction of Chinese national motives into it. The composer introduced listeners to the air melodic lines of original works and filled his works with a complex texture, making them attractive for acquaintance with the rich traditional culture of China. Developing national piano art, Zhang Zhao inscribes the Chinese chapter in the world culture with his inherent passion and love for life. In addition to studying composition, performing and teaching, Zhang Zhao, is active in public activities, being a music professor at the Central University for Nationalities. He pays great attention to the development of the artistic taste of students, shares his own musical ideas and aesthetic principles. The composer made great efforts and energy to create the “Chinese piano dream”. To popularize this work, they, together with Yundi Li and the Shanghai People’s Orchestra conducted nationwide tours, visited Taiwan, and outlined other projects. Despite the fact that Professor Zhang Zhao has a very tight work schedule, he nevertheless finds time to talk with his students about the place of national music and its prospects. In the “Chinese Piano Dream”, the composer sought to reflect the essence of the musical culture of the Chinese nation. He embodied the dreams of the older generation of pianist composers and performers about the perfection of the Chinese piano scene, set a high goal – to show the artistic value of the Chinese piano piece on the world stage, took on the mission to inherit the national culture and pass it on to the next generations. In the works of Zhang Zhao, the interests of the Chinese and global world level intersect. This is due to the amazing richness of the composer’s creative worldview, which is open to everything significant in life and art. On this basis, the composer came to important conclusions about the role of contemporary classical musical art in people’s lives in China and in the world. Conclusions. For more than twenty years, Zhang Zhao is in the creative search for his musical style. He carefully investigated the development of ethnic music, which enabled him to create his piano works, which are distinguished by a unique and mature language.
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WEN, XIAOHONG. "Chinese Link: Elementary Chineseby WU, SUE-MEI, YUEMING YU, YANHUI ZHANG, & WEIZHONG TIAN." Modern Language Journal 92, no. 2 (June 2008): 329–31. http://dx.doi.org/10.1111/j.1540-4781.2008.00729_8.x.
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Teulon, D. A. J., and B. Xu. "Chinese language publications are important for understanding the likely impact of brown marmorated stink bug to kiwifruit." New Zealand Plant Protection 70 (July 26, 2017): 316. http://dx.doi.org/10.30843/nzpp.2017.70.75.
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Brown marmorated stink bug (BMSB) is a polyphagous pest originating from Asia but is now established in North America, Europe and recently South America. It has not established in New Zealand but is considered a signi cant biosecurity threat. Surprisingly, there is very little accessible information on its potential impact on kiwifruit, one of New Zealand’s most important horticulture crops. Articles in Chinese characters1,2,3 published in Chinese journals more than a decade ago demonstrate that BMSB is an important kiwifruit pest in China and, therefore, of concern to New Zealand’s kiwifruit industry. However, these articles were unknown to the broader BMSB research community until recently. This example reemphasises the importance of searching Chinese databases with Chinese characters, along with standard searches in international databases, to ensure a comprehensive understanding of biosecurity risks to New Zealand.
Zhang F, Chen Z, Zhang S. 2000. The occurrence and control of Halyomorpha halys in kiwifruit orchards. Northwest Horticulture 2: 38.
Guo X, Shi X. 2003. The biology and integrated management of important kiwifruit pests. China Fruits 1: 45-46.
Feng H. 2007. The occurrence and control of pests in kiwifruit orchards. Northwest Horticulture 12: 22.
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Ngai, Cindy S. B. "Representations of the dead and the afterlife in translations of Mudan Ting, a masterpiece in Chinese Kunqu theatre." Babel. Revue internationale de la traduction / International Journal of Translation 62, no. 2 (August 10, 2016): 191–210. http://dx.doi.org/10.1075/babel.62.2.02nga.
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The aim of this paper is to identify and analyze the strategies used to translate into English death related cultural taboos viz. death, ghost and resurrection represented in the prominent classical Chinese drama Mudan Ting. Particular reference is made to the articulation of these taboos in three seminal English versions of Mudan Ting (as Peony Pavilion) by Cyril Birch, Wang Rongpei and Zhang Guanqian, respectively. Although these translators all follow the source text closely, certain differences in their translation strategies warrant attention. Cyril Birch takes an acculturation approach to the translation of death-related material, whereas Wang Rongpei adheres to the original text and tends to use semantic translation. In contrast, Zhang Guanqian usually translates literally, infusing the English text with a “foreign” flavor. These differences are examined in light of the general propensity among translators to take an avoidance approach to death-related material. The strategies used to translate taboo subjects are found to depend on the translator’s intentions, the target readership, the specific nature of the culturally loaded elements and the availability of equivalent expressions in the target language and culture.
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You, Shuxiang. "Review of Wong, Li, Xu & Zhang (2010): Introduction to Chinese natural language processing." International Journal of Chinese Linguistics 1, no. 1 (September 5, 2014): 157–62. http://dx.doi.org/10.1075/ijchl.1.1.06you.
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Thieroff, Rolf. "Review of Zhang (1995): A Contrastive Study of Aspectuality in German, English, and Chinese." Studies in Language 21, no. 3 (January 1, 1997): 686–97. http://dx.doi.org/10.1075/sl.21.3.11thi.
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YIP, Kam Ming. "評《大乘中觀哲學的生死觀》一文." International Journal of Chinese & Comparative Philosophy of Medicine 14, no. 2 (January 1, 2016): 87–91. http://dx.doi.org/10.24112/ijccpm.141618.
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LANGUAGE NOTE | Document text in Chinese; abstract in English only.This article comments on Zhang Ying’s essay “Death and Dying in Chinese Madhyāmika Buddhism”. The central thesis of Zhang’s essay is that Madhyāmika’s non-dualist approach to samsara and nirvana, this world and the other world, and life and death helps narrow the gap between life and death and consequently remove our fear of death, which in turn has important implications for hospice care. However, Zhang did not explain how this non-duality can be put into practice, which is a major defect of Zhang’s paper. And if accessibility to non-duality in practice is not fully explained, people’s confusion around hospice care remains. Moreover, Zhang’s essay fails to explain the implications of Madhyāmika’s non-dualist approach for the practice of hospice care in contemporary society, which Zhang promised to do so.DOWNLOAD HISTORY | This article has been downloaded 147 times in Digital Commons before migrating into this platform.
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Zhang, Cun. "The Sino–US trade war in political cartoons: A synthesis of semiotic, cognitive, and cultural perspectives." Intercultural Pragmatics 18, no. 4 (August 30, 2021): 469–97. http://dx.doi.org/10.1515/ip-2021-4003.
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Abstract Economic globalization has resulted in more frequent trading frictions, some of which have escalated into trade wars such as the one between China and the US. Drawing on the same corpus built by Zhang and Forceville (Zhang, Cun & Charles Forceville. 2020. Metaphor and metonymy in Chinese and American political cartoons (2018–2019) about the Sino–US trade conflict. Pragmatics and Cognition 27(2). 476–501), and complementing insights of that paper, this paper investigates how the Sino–US trade war is metaphorically and metonymically constructed in 129 Chinese and American political cartoons respectively from a synthesized perspective. Based on comparative analyses, cross-cultural similarity and uniqueness in the semiotic, cognitive, and cultural aspects can be concluded as follows: (a) at the expression level, the shared dominant mode configuration pattern of metaphor and metonymy requires extra-textual knowledge to identify the target domain/concept while the source domain/vehicle concept is pinpointed through pictorial resources; (b) at the cognition level, “us” and “them” are distinctively evaluated by using the metonymy BODILY REACTION FOR EMOTION, cultural symbols, and the Great Chain metaphor. The Chinese cartoons converge on disapproving of “them” while the American cartoons converge on disapproving of “us” and diverge on conceptualizing “them”; (c) a variety of cross-cultural default scenarios are employed in the Chinese cartoons whereas the American cartoons utilize non-default scenarios influenced by only American cultures. Both aim for persuasiveness by employing emotionally charged source domains/vehicle concepts, but to different audiences.
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Pedone, Valentina. "Gaoheng Zhang, Migration and the Media: Debating Chinese Migration to Italy, 1992–2012." Forum Italicum: A Journal of Italian Studies 54, no. 3 (January 22, 2020): 842–44. http://dx.doi.org/10.1177/0014585819896340.
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Yang, Xiaolong, and Yicheng Wu. "On the scope of quantifier phrases in Chinese passive construction." International Journal of Chinese Linguistics 7, no. 1 (June 30, 2020): 71–89. http://dx.doi.org/10.1075/ijchl.19010.yan.
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Abstract Quantifier phrases (QP) can co-occur in a single sentence, which may cause ambiguity in terms of scope relation, viz. wide scope and narrow scope interpretations. Aoun & Li (1993) claim that quantifier scope ambiguity also exists in Chinese passive construction, such as yige nűren bei meige ren ma ‘a woman was scolded by everyone’. Following Lee (1986)’s proposal, it is argued in this paper that the scopal relations of Chinese QPs are not purely syntactic as in Aoun & Li’s analysis, but should be determined by the interaction between syntax, semantics, and pragmatics. Based on naturalistic data, it is shown that (i) Chinese QPs can be classified into whQP, distributive-universal QP and group-denoting QP, whose semantic properties determine the scope relations between them; (ii) in general, a QP is devoid of referentiality, yet it can acquire referentiality depending on its co-occurrence with other QPs or contextual factors; (iii) the subject definiteness constraint in Chinese, a language-specific constraint, would affect the interpretation of subject QPs in Chinese passive construction.
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Miller, Eric T. "Living Independently Is Good: Residence Patterns in Rural North China Reconsidered." Care Management Journals 8, no. 1 (March 2007): 26–32. http://dx.doi.org/10.1891/152109807780494113.
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Filial piety provides an important ideological basis for family-based support in China. Evidence indicates that in recent years the support of the aged within the Chinese extended family has decreased. This article examines filial piety, residence, and support arrangements in three rural Chinese villages. Anthropologists independently conducted research in these villages in the 1990s: Hong Zhang in Zhongshan Village in Hubei Province, Yunxiang Yan in Xiajia Village in Heilongjiang Province, and myself in Lijia Village in Shandong Province. This article examines the strategies used by the young and old in negotiating intergenerational support and residential arrangements within the context of local village circumstances and policies. In each village, the aged are increasingly likely to live apart from children, and to express a preference for living independently. Although these facts appear to contradict filial piety, filial piety continues to be valued. Filial respect of elders, however, is seen less as an inherent right and more as a reciprocal relationship that can be built, maintained, and lost. Housing policies and the economic status of the aged both appear to play an important role in explaining the common trends in these villages as well as explaining the differences between them. To varying degrees in each village, power has shifted to the younger generation.
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Yang, Barry C. Y. "Two types of peripheral adjunct WHATs." Concentric. Studies in Linguistics 47, no. 1 (April 19, 2021): 61–92. http://dx.doi.org/10.1075/consl.00023.yan.
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Abstract This study investigates two types of adjunct WHATs merged at peripheral positions in Chinese. The L-WHAT is merged within VP and denotes a why-interpretation with an aggressive, prohibitive force. The H-WHAT is merged at the left periphery of a sentence and is exclusively used in expressing a speaker’s refutatory force without interrogativity. The two WHATs are encoded with different modalities: the L-WHAT with root modality while the H-WHAT with epistemic modality. It is proposed that the interpretations of the two types of WHATs are compositionally derived from the modality and speaker force. This study not only explores the origins of different interpretations of adjunct WHATs, but also advances a uniform approach in mapping the speaker force onto syntax.
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XU, Hai, and Ziyue Chen. "Review of Zhang (2014): Sadness Expressions in English and Chinese: Corpus Linguistic Contrastive Semantic Analysis." Languages in Contrast 16, no. 2 (September 16, 2016): 285–88. http://dx.doi.org/10.1075/lic.16.2.07xu.
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Pellin, Tommaso. "Inventing a modern lexicon for grammar in Chinese: the experience of Wang Fengzao, Ma Jianzhong and Yan Fu." Language Sciences 30, no. 5 (September 2008): 529–45. http://dx.doi.org/10.1016/j.langsci.2007.07.007.
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Yang, Jun. "Participatory, self-organising, and learning." Target. International Journal of Translation Studies 32, no. 2 (July 2, 2020): 327–57. http://dx.doi.org/10.1075/target.19156.yan.
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Abstract This article presents a case study on communication in online collaborative translation projects, drawing on a community of amateur Chinese translators called Yeeyan. Centring on the concept of ‘translaboration’, the study explores the collaborative dimension of translation by examining conversational discourse during the translation process. It argues that participants play the role not only of translators, but also of translaborators, who self-organise and resolve various kinds of issues through collaboration. The study uses dialogue act analysis and social network analysis to investigate the features and influence of communication that drive and shape translation and other collaborative activities. The findings show that communication can help mitigate organisational and quality risks in online collaborative translation. A learning process embedded in peer communication is also found. The study enriches existing knowledge of translaboration as a model of transdisciplinary research of collaborative practices in multi-agent relationships, collective problem-solving and knowledge communication.
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Gan, Zhengdong, Sylvia S. L. Ieong, Yuanlian Su, and Jinbo He. "Understanding Chinese EFL teachers’ conceptions and practices of assessment." Australian Review of Applied Linguistics 41, no. 1 (October 12, 2018): 4–27. http://dx.doi.org/10.1075/aral.17077.gan.
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Abstract This paper reports on findings from an ongoing research project exploring Chinese EFL teachers’ conceptions of assessment and their classroom assessment practices, as well as to examine the relationship between these two. The sample for the study consisted of 107 EFL teachers from 18 secondary schools who completed a Chinese version of the Teachers’ Conceptions of Assessment inventory (Brown, Hui, Yu, & Kennedy, 2011) and the Classroom Assessment Practices Questionnaire modified from Assessment Practices Inventory (Zhang & Burry-Stock, 2003). This study found that Chinese EFL teachers strongly associated assessment as a means of improving students’ EFL learning’ with assessment as a means of cultivating positive moral and personal character contributing to students’ lifelong learning and good citizenship. Results also showed that although there existed some level of alignment of teaching and assessment in the classroom, traditional assessment practices rather than alternative assessment such as student self-assessment were seen by the EFL teachers as contributing to students’ learning and making individual and school accountable, which is potentially a matter of some concern if innovative assessment reform that avoids using mandated external examinations is to be carried out in the Chinese EFL classroom. Implications of the results for Chinese EFL teacher assessment literacy development are also discussed
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CAI, Xiangyuan. "〈王鳳儀倫理療病闡析〉一文評析." International Journal of Chinese & Comparative Philosophy of Medicine 12, no. 2 (January 1, 2014): 39–42. http://dx.doi.org/10.24112/ijccpm.121563.
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LANGUAGE NOTE | Document text in Chinese; abstract in English only.The modern discipline of bioethics is usually understood to represent life and ethics as two intrinsically separate fields. In his article, which clarifies the concept of an ethical cure, Zhang Xianglong takes a novel approach to bioethics, regarding life and ethics as closely intertwined. Zhang’s main aim is to determine whether ethics-based medical treatments are rational and can be scientifically defended. After rejecting the arbitrary claims of scientism, Zhang indicates that the concept of an ethical cure is predicated on an assumption of the unity of heaven and human beings. Although this assumption seems to oppose the traditional Western philosophy of dualism, Zhang argues that the two schemes of thought offer certain common insights into modern life, particularly with reference to pragmatism and phenomenology.DOWNLOAD HISTORY | This article has been downloaded 39 times in Digital Commons before migrating into this platform.
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Yan, Xi. "A study of Macao tertiary students’ attitudes to issues in postcolonial Macao’s language policy and planning." Language Problems and Language Planning 43, no. 3 (December 3, 2019): 241–61. http://dx.doi.org/10.1075/lplp.00033.yan.
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Abstract This study focuses on Macao, a former Portuguese colony and a Special Administrative Region of the People’s Republic of China after 1999. A questionnaire survey and semi-structured interviews were conducted in 2012 and 2013 respectively among freshmen of the University of Macau to investigate their attitudes to issues in Macao’s language policy and planning (LPP). Findings of this study reflect their practical attitudes, as reflected in their attitudes towards the choice of English or Portuguese as the first foreign language in Macao public schools. At the same time, their attitudes also reflect their strong local allegiances and resistance to Mainland China’s cultural practices, as reflected in their views on the issue of the official status of Putonghua in the Macao SAR, the choice of Putonghua or Cantonese as the medium of instruction, and the maintenance of traditional Chinese characters, written Cantonese, and Cantonese Romanization System in Macao.
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Huang, Xiuguo. "A review of the comparative study of Mo Yan and Faulkner in China." Semiotica 2019, no. 227 (March 5, 2019): 19–29. http://dx.doi.org/10.1515/sem-2016-0027.
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AbstractMo Yan’s multi-layered and allegorical tales were highly inspired by William Faulkner. Mo Yan’s semi-fictional Gaomi Northeast Township was often linked to William Faulkner’s fictional Yoknapatawpha, and he himself was extolled by the Chinese scholars to be “China’s Faulkner.” Inside China, there have emerged a great number of comparative studies on Faulkner and Mo Yan, which are usually conducted from the perspectives of literary forms, native-soil complex, attitudes towards tradition, the influence of local culture, and so on. However, despite the strong record of research on these two writers in China, there is still room for improvement in the study, for after the initial stage of the superficial and sporadic comparison between individual works, the comparative study of Faulkner and Mo Yanis in pressing need of comprehensive and systematic research of these criticisms.
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Yang, Shanshan, Defeng Li, and Victoria Lai Cheng Lei. "The impact of source text presence on simultaneous interpreting performance in fast speeches." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 2, 2020): 588–603. http://dx.doi.org/10.1075/babel.00189.yan.
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Abstract The issue addressed in this study is the impact of source text presence on simultaneous interpreting performance in fast speeches. Fast speech rate is assumed to frustrate even professional interpreters in simultaneous interpreting (SI) without source text (ST) scenario, yet little is known about what happens when the ST is available to interpreters, an interpreting practice of increasing popularity. Previous studies present mixed results concerning the effect of fast speech rate and ST presence on SI quality, which further adds to the complexity of this issue. This study adopted the experimental approach with a qualitative assessment of SI quality, quantisation of output parameters and retrospective interview, to unravel some myths surrounding this issue. The 54 trainees were randomly divided into two groups to interpret two fast Chinese speeches into English under with and without ST conditions. The results found a significant effect of ST presence on the qualitative assessment of interpreting performance, on the interpreting delivery fluency, and on the information completeness. The facilitative effect of ST presence in fast speeches was confirmed while new issues also arise concerning trainee interpreters’ ability in eye-ear coordination.
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Deng, Wensheng. "Case Study of Howard Goldblatt’s Translation of Red Sorghum—From Media-translatology Perspective." Theory and Practice in Language Studies 9, no. 8 (August 1, 2019): 1015. http://dx.doi.org/10.17507/tpls.0908.19.
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Since Mo Yan was given the Nobel Prize for Literature，literary translation has been heatedly debated. Howard Goldblatt, as one of Mo Yan’s major translators of English world, is gaining global eyes. And his translations are so popular that some scholars claim that Howard flatters MoYan himself, and he has rewritten Mo Yan. To make the debate known to the public, the thesis explores Howard’s translation of Red Sorghum, based on the perspective of Media-translatology. In the translation, Howard Goldblatt has made addition, subtraction, rearrangement, etc., in the translation. His changes and adjustments are quite different from the ST, but it retains the image, structure of the ST, and it adopts aesthetic fidelity, which is a universal principle in literary translation. Howard’s choice of MoYan is another reason to help him achieve success in translation for western readers are particularly interested in Mo Yan’s invention of genre, style, techniques and language. And what Howard’s action has coincided with the significant opening-up policy of China is also a great power to popularize his translation. Actually, Howard’s performance and practice are necessary steps to communicate culture in cross-cultural interactions, he is not only a communicator of Chinese literature, modern and contemporary, but also a constant contributor of world civilization and culture, for his new attribute in translation—a thirdness.
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KWAN, Kai Man. "拒絕同性婚姻的制度化——回應張祥龍教授." International Journal of Chinese & Comparative Philosophy of Medicine 16, no. 2 (January 1, 2018): 77–81. http://dx.doi.org/10.24112/ijccpm.161651.
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LANGUAGE NOTE | Document text in Chinese; abstract in English only.Professor Zhang evaluates the institutionalization of same-sex marriage from the Confucian perspective, and he does not support it. I agree with him, and this commentary provides more evidence to support his arguments. Finally, I raise two minor questions for him.DOWNLOAD HISTORY | This article has been downloaded 239 times in Digital Commons before migrating into this platform.