Language Log

Poster on a Tokyo subway, courtesy of Sanping Chen:

This is a story we've been following for well over a decade (see "Selected readings").  Improbable as it may seem that the Korean alphabet might be adaptable for writing an Austronesian language of Indonesia, there are some promoters of this idea who continue to push it enthusiastically:

"An Indonesian Tribe’s Language Gets an Alphabet: Korea’s
The Cia-Cia language has been passed down orally for centuries. Now the tribe’s children are learning to write it in Hangul, the Korean script."  By Muktita Suhartono, NYT (Nov. 4, 2024)

These fourth graders are not studying the Korean language. They are using Hangul to write and learn theirs: 

Cia-Cia, an indigenous language that has no script. It has survived orally for centuries in Indonesia, and is now spoken by about 93,000 people in the Cia-Cia tribe on Buton Island, southeast of the peninsula of Sulawesi Island in Indonesia’s vast archipelago.

Anh Yeo is a Chinese from Vietnam.  Currently she is studying in a graduate program of Chinese language and literature at Tsinghua University.  To earn pocket money, she has taken up a job teaching Southeast Asia office workers Mandarin online.  In response to this post "Aborted character simplification in the mid-1930s" (10/5/24), which had much to do with character simplification (or not) in Singapore, she wrote to me as follows:

I had two lessons tonight teaching Pinyin. Southeast Asians learn Pinyin fast (similar alphabet + existence of tones in Thai and Vietnamese), but because of that students are reliant on Pinyin and cannot remember characters! I have students learning for 3-4 months and still have to read off Pinyin (recognizing fewer than 50 characters). I always thought the coexistence of characters and Latin alphabet in Mandarin interesting!

Great piece on the materiality of language. Part of the difficulty in implementing jiantizi in Singapore was just this: for example, in 1983, years after Singapore had begun introducing jianti, the limited availability of type meant that only 70% of publishers used them. https://t.co/GB9JxiI2wD

— Chien-Wen Kung 龔建文 (@kchienw) October 4, 2024

Sino-Platonic Papers is pleased to announce the publication of its three-hundred-and-fifty-second issue: "Dramatic Transformations of Sinography in East Asia and the World" (pdf), edited by Victor H. Mair (August, 2024).

Foreword
The three papers in this collection were written for my “Language, Script, and Society in China” course during the fall semester of 2023. All three of them are concerned with radical changes made to Sinographic script during its adjustment to modernity.

Stunning report from Pinyin News:

"Chinese characters no longer required for Taiwan Aborigine names" (5/21/24)

Last week Taiwan’s legislature passed an amendment stating that members of Taiwan’s tribes will no longer be forced to adopt names written in Chinese characters. Instead, their names can be presented solely in romanization if so desired. Thus, at least in this specialized category, Chinese characters have been stripped of their primacy and romanization is officially allowed to stand on its own (not appear only in conjunction with Chinese characters).

Source: Lìyuàn tōngguò: yuánzhùmín shēnfen zhèngjiàn — kě zhǐ xiě pīnyīn zúmíng (立院通過：原住民身分證件 可只寫拼音族名), United Daily News, May 15, 2024

Linkedin post by Matías Otero Johansson:

The Orientalism Problem: Edgar Snow's last interview with Mao

In an article published in Life Magazine in 1971, journalist Edgar Snow (1905-1972) ends his account of the last interview Mao Zedong would grant him thus:

"As he curteously escorted me to the door, he said he was not a complicated man, but really very simple. He was, he said, only a lone monk walking the world with a leaky umbrella. … I believe #China will seek to cooperate with all friendly states, and all friendly people within hostile states, who welcome her full participation in world affairs."

As soon as I saw the word "umbrella", I knew what this turn of phrase was about.

It is covered in John Rohsenow's magisterial dictionary of xiēhòuyǔ 歇後語, which I refer to as "truncated witticisms".

Probably only Northeastern Chinese could understand.

(source)

Many innocent observers have been snookered by the Chinese Character Simplification Scheme and the relatively small amount of characters that were reduced in the number of strokes with which they were written or were abolished outright.  Indeed, celebrated professors of Chinese are calling for still more characters to be added to the humongous total (at least 100,000) that already exist (e.g., see here).

There were about 5,000 different characters on the oracle bones, the first stage of Chinese writing roughly 3,300 years ago, but only around 1,200 of them have been identified with any degree of confidence.

The first major dictionary of individual characters, Shuōwén jiězì 說文解字 (lit., "discussing writing and explaining characters" [there are different interpretations of the title]), completed in 100 AD, contained 9,353 glyphs.

The Kāngxī Zìdiǎn 康熙字典 (Compendium of standard characters from the Kangxi period), published in 1716, which was the most authoritative dictionary of Chinese characters from the 18th century through the early 20th century, had 47,035 glyphs.

China tells India to solve its language problem. (Source: /r/polandball)

Aside from "OK", is there any English word in the world that is better known than "hello", or maybe "thanks", or "bye"?

Now get this:

This is a story about the frustration of a mom in China over the fact that the character for her child's surname, cuàn 爨, has 30 strokes (some sources say 29).

Aside from its use as a surname, this monstrosity of a glyph can also mean "to cook" and "oven; cooker; cookstove".  Although cuàn 爨 certainly should have been a candidate for simplification, so far as I know, no simplified character for it exists, at least none that is official.

There are a dozen or so alternate forms, e.g., 熶, but most of them are very obscure and cannot be found in electronic fonts.  See here for a few.

Photograph of a work of art in a Berlin gallery, taken by Johan Elverskog:

Jia. One Hundred Women, 2016. Acrylic on canvas, 78 3/4 x 78 3/4 inches