Language Log

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

The linguistic importance of Dungan is greatly disproportionate to the number of its speakers, approximately 150,000, who live in seven different countries that are widely spread across Eurasia:   Kyrgyzstan, Kazakhstan, Russia, Tajikistan, Mongolia, Uzbekistan, and Ukraine.  The main reason why Dungan has been the focus of so much interest during the half-century since I began studying this fascinating language is that it puts the lie to the fallacy that Sinitic languages can only be written with the Sinographic script (i.e., Chinese characters).  The only Sinitic language that needs to be written with morphosyllabic characters is Literary Sinitic / Classical Chinese, a language that, in terms of its sayability, has been dead for millennia.  The recent academic study of Dungan has played a key role in enabling language specialists and the lay public finally to come to this realization.

Because the Dungan people are so highly scattered across vast distances and live among dominant populations with completely different languages that they need to speak for daily survival, their own language — and consequently also its alphabetic script — is threatened with extinction.  Furthermore, in recent decades the Dungans have been buffetted by ethnopolitical winds that make it even harder to maintain their unique identity.  That is why I have long felt a sense of urgency about the need to document and research Dungan language and script in all of their dimensions (morphology, phonology, lexicography, grammar, syntax, script, literature, sociolinguistics…).

Just out, a stimulating new book from Brill (2020):

Mareshi Saito.  Kanbunmyaku:  The Literary Sinitic Context and the Birth of Modern Japanese Language and Literature.  Series:  Language, Writing and Literary Culture in the Sinographic Cosmopolis, Volume: 2.  Editors:  Ross King and Christina Laffin; translators:  Alexey Lushchenko, Mattieu Felt, Si Nae Park, and Sean Bussell

From the author's Introduction, p. 1:

The chief aim of this book is to consider the language space of modern Japan from the perspective of what I am calling kanbunmyaku 漢文脈 in Japanese, translated here as “Literary Sinitic Context.”  I use  the term “Literary  Sinitic”* to designate what is often referred to as “Classical Chinese” or “Literary Chinese” in English, wenyan 文言 in Mandarin Chinese, kanbun 漢文 in Japanese (sometimes referred to as “Sino-Japanese” in English), and hanmun 漢文 in Korean.  The Context in Literary Sinitic Context translates the -myaku of kanbunmyaku, and usually implies a pulse, vein, flow, or path, but is also the second constituent element of the Sino-Japanese term bunmyaku 文脈 meaning “(textual, literary) context.”  I use the term Literary Sinitic Context to encompass both Literary Sinitic proper, as well as orthographic and literary styles (buntai 文体) derived from Literary Sinitic, such as glossed reading (kundoku 訓読) or Literary Japanese (bungobun 文語文), which mix sinographs (kanji 漢字, i.e., “Chinese” characters) and katakana.  In addition to styles I also consider Literary Sinitic thought and sensibility at the core of which lie Literary Sinitic poetry (kanshi 漢詩) and prose (kanbun 漢文), collectively termed kanshibun 漢詩文.

*For  the  term  “Literary  Sinitic,”  see  Victor H. Mair,  “Buddhism and the Rise of the Written Vernacular,” Journal of Asian Studies, 53.3 (August, 1994), 707-751.

That's the title of a new book (Oct. 7, 2020) from Routledge edited by Henning Klöter and Mårten Söderblom Saarela, with the following subtitle:  Historical Trajectories, Language Planning, and Multilingual Practices.   I was present at the conference in Göttingen where the papers in the volume were first delivered and can attest to the high level of presentations and discussions.

This is the publisher's book description:

The vast majority of people, both inside and outside of China, input characters on cell phones, computers, and other electronic devices via Hanyu Pinyin or other phonetic script.  Naturally, this has had a huge impact on the relationship between users of the Chinese script and their command of the characters, since they are no longer directly writing the characters through neuro-muscular coordination and effort.  Instead, their electronic devices do the writing of the characters for them by converting the Pinyin or other phonetic inputting to the desired characters, resulting in the widely lamented phenomenon of "character amnesia", which we have touched upon in dozens of LL posts.

There has in recent years been a lot of stuff and nonsense bandied about concerning how Chinese character inputting led to the development of predictive typing, whereas the actuality is that the extreme cumbersomeness of the Chinese writing system necessitated the development of one kind of predictive typing (other predictive algorithms were already in use long before) to rescue the characters from hasty extinction.

Every time someone (usually a Chinese person) raises the issue of writing Sinographic languages in a phonetic script, people (usually non-Chinese) will jump on him / her and say that it can't be done or that it will destroy the culture.

When it is pointed out that it already has been done repeatedly for the last millennium and more ("Writing Sinitic languages with phonetic scripts" [5/20/16]) and that the Vietnamese and Koreans have done it successfully (passim), the ultimate response of the anti-phonetists is that we need to take a survey to find out if the Chinese people really want a phonetic script (most recently in the comments here:  "Sinitic languages without the Sinographic script" [3/5/19]).

From Lane Greene at The Economist, "The ban on split infinitives is an idea whose time never came," with boldfacing by yours truly:

GEORGE BERNARD SHAW was once so angry with a subeditor that he complained to the newspaper. “I ask you, sir,” Shaw wrote, “to put this man out.” The cause of his fury? The editor had insisted on “correcting” split infinitives. “Set him adrift and try an intelligent Newfoundland dog in his place,” Shaw fulminated, “without interfering with his perfect freedom of choice between ‘to suddenly go’, ‘to go suddenly’ and ‘suddenly to go’.”

This spring a new edition of The Economist’s style guide is published*. Many of its changes are of a kind only a copy-editor would notice; but on an issue that has set teeth grinding for centuries, it marks a sea-change that Shaw would have appreciated. It says infinitives may be split.

While this strikes a blow for linguistic sanity, it is not an unmixed blessing. The Economist's prohibition of split infinitives within its pages has provided a steady supply of topics for blogospheric descriptivists (especially those with the initials "GKP"), who will now have to find something else to write about.

Economist still chicken: botches sentence rather than split infinitive (Geoff Pullum on Language Log)
No-excuses split infinitive in the Economist (Geoff Pullum on Language Log)
To more than justify the split infinitive (Geoff Pullum on Language Log)
At last, a split infinitive in The Economist (Geoff Pullum on Language Log)
Economist Sticklers trying to bug me (Geoff Pullum on Language Log)
Active seeming: dumb grammar fetishism yet again (Geoff Pullum on Language Log)
Rules that Eat Your Brain (Geoff Pullum on Lingua Franca)
The Economist Should Lighten Up and Split Some Infinitives  (Geoff Pullum on Slate)
Led astray by the no-split-infinitives fetish (Gabe Doyle on Motivated Grammar)
To offensively split infinitives (Stan Carey on Sentence First)

In the "Cultural disappropriation" section of the current The Economist, there's an entertaining and informative article on the latest attempt to purify Turkish:

"Turkey’s president wants to purge Western words from its language:  A new step in Recep Tayyip Erdogan’s campaign against foreign influences"

The whole business is both humorous and hopeless:

Hu Shih 胡適 (Pinyin Hú Shì [1891-1962]) is widely regarded as one of the most important Chinese intellectuals of the 20th century.  As such, he is known as the "Father of the Chinese Renaissance".  In my estimation, Hu Shih was the single most influential post-imperial thinker and writer in China.  His accomplishments were so numerous and multifarious that it is hard to imagine how one man could have been responsible for all of them.

Before proceeding, I would like to call attention to "Hu Shih:  An Appreciation" by Jerome B. Grieder, which gives a sensitive assessment of the man and his enormous impact on Chinese thought and culture.  Another poignant recollection is Mark Swofford's "Remembering Hu Shih:  1891-1962", which focuses on aspects of Hu's monumental advancement of literary and linguistic transformation in China.  For those who want to learn more about this giant of a thinker and writer, I recommend Grieder's biography, Hu Shih and the Chinese Renaissance: Liberalism in the Chinese Revolution, 1917-1937 (Cambridge, MA:  Harvard University Press, 1970) and A Pragmatist and His Free Spirit:  the half-century romance of Hu Shi & Edith Clifford Williams (Hong Kong:  Chinese University Press, 2009) by Susan Chan Egan and Chih-p'ing Chou.

Zhou xiansheng,

You were my dear friend for decades.  I wish that you had gone on living forever.  You will be sorely missed, but yours was a life well lived.

As the "Father of Pinyin", you have had an enormous impact on education and culture in China.  After you passed the century mark, you spoke out courageously in favor of democracy and reform.

Now, one day after your 111th birthday, you have departed, but you will always be in our hearts, brimming with light, as your name suggests.

Tearfully,

Victor

This morning I was awakened by a bird calling outside my window, "m*ll*n*y m*l*rk*y", or maybe it was some squirrel chattering (I was half asleep and couldn't be sure which it was).  Since I was unable to distinguish the vowels clearly, I couldn't tell exactly what the call / chatter was, but the bird / squirrel kept repeating it over and over, so at least I was able to transcribe the general lineaments: "m*ll*n*y m*l*rk*y m*ll*n*y m*l*rk*y m*ll*n*y m*l*rk*y".

 This is a guest post by David Moser of Beijing Capital Normal University

For those of us who teach and research the Chinese language, it is often difficult to describe how the Chinese characters function in conveying meaning and sound, and it’s always a particular challenge to explain how the writing system differs from the alphabetic systems we are more familiar with. The issues are complex and multi-layered, and have important implications for basic literacy and the teaching of Chinese to both native speakers and foreign learners. Tom Mullaney, a professor of history at Stanford University, has lately been muddying these pedagogical waters in a series of articles and interviews that seriously misrepresent the merits and relative advantages of the alphabet over the Chinese script.

K Chang asked:

Possible topic for Prof Mair: Any one know what is this "Wang ts Joa" writing system, allegedly a topolect writing system for Chinese?

Here's a specimen of the script in question, from imgur: