A Phonological and Morphosyntactic Analysis of Mandarin T0 Within Disyllabic Sequences

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This thesis gives a phonological representation of the Mandarin Chinese Neutral tone (T0) within disyllabic sequences using Optimality Theory, morphology, and semantic structure. This thesis states that T0 in Mandarin is caused by a phenomenon called Loss of Coda Licensing,…

This thesis gives a phonological representation of the Mandarin Chinese Neutral tone (T0) within disyllabic sequences using Optimality Theory, morphology, and semantic structure. This thesis states that T0 in Mandarin is caused by a phenomenon called Loss of Coda Licensing, which states that codas of non-head syllables that have a low semantic influence on the disyllabic sequence lose their ability to associate with a tone, causing the syllable to become a T0 syllable. To experience Loss of Coda Licensing, non-head syllables are evaluated for their semantic influence and subsequently placed into two categories: high influence and low influence. Low-influence syllables are then placed into one of five categories, with each category containing a phonological constraint that affects the syllable's coda to license a tone. This thesis utilizes Optimality Theory to posit a phonological representation that shows, like Mandarin's four lexical tones, that T0 is also a tone, even if it is shorter in length than the lexical tones. This thesis's phonological representation shows that a T0's Tone differs from that of a lexical tone because T0's Tone depends on the preceding lexical syllable's coda tone. The implications of this thesis are that tonal realization within disyllabic sequences depends on semantic contributions, that T0 syllables contain a coda that cannot license a tone, and that non-head syllables can be categorized within Chinese.
Date Created
2024
Agent

Collection, Re-Collection, and Recollection: The Compilation of Collected Works (Bieji 別集) in Song China (960-1297)

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The production of “separate collections” (bieji 別集) or collected works in China is a social practice that emerged between the 1st and 3rd centuries CE. This research focuses on how the practice developed over the course of the Song dynasty…

The production of “separate collections” (bieji 別集) or collected works in China is a social practice that emerged between the 1st and 3rd centuries CE. This research focuses on how the practice developed over the course of the Song dynasty (960-1279) in terms of literary materials involved, competences required, associated meanings, and its links to other social practices. I examine extant collected works, descriptions of them, and contemporary feedback on their production to create a series of snapshots that reveal its trajectory over time. Surveying the emergence of the practice in the early imperial period through its development in medieval times shows that pre-Song dynasty production of collected works was the result of several pre-existing conditions: competences related to bookmaking, the emergence of the idea of the inscription of authorial personality in literary works, the elevated status of belles-lettres, and several pre-existing tropes that lent it increasing importance. As the practice began recruiting scholars in 1020, it underwent a series of changes: attention to loss and variation between editions gave way to the search for missing works and the production of increasingly complete and authentic editions. This was followed in 1080 by several innovations, including the organization of works literary according to chronological order, rhyme, or topical category and insertion of annotations and a chronological biography. After 1180, compilers began synthesizing the accomplishments of previous editions to make editions that featured multiple annotators arranged in increasingly sophisticated ways for a new readership that were strongly associated with commercial printing. I identify six varieties of the production of the collected works of Song authors, each with distinct aims and associations that differed with respect to elements of practice, the practitioners they recruited, and how they linked with other social practices toward larger social goals. Findings contribute to Chinese book history by contextualizing change in formalistic trends over time. Identified as a social practice, the account of change and variation in the compilation of collected works during the Song presented in this research adds unique perspective to the subject of social change in this pivotal period of Chinese history.
Date Created
2023
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Imagined Confucian Legacy: Manufacturing “Chinese” Civilizational Consciousness in Pre-Tang China

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This dissertation discusses how Confucianism was invented as the basis for culturalidentity of East Asia and how the “Confucian” Classics were circulated and translated in and beyond China proper. Penetrating the compelling forces behind four well-known and widely used texts—the…

This dissertation discusses how Confucianism was invented as the basis for culturalidentity of East Asia and how the “Confucian” Classics were circulated and translated in and beyond China proper. Penetrating the compelling forces behind four well-known and widely used texts—the Shijing, the Hanshu, the Shuowen jiezi, and the Erya—in relation to the power dynamics and negotiations among their writers and others in their times, this dissertation follows two tracks. The first investigates how the Classics—which were shared heritages in the pre-Han period (<202 B.C.E.)—became Confucian cultural capital, on the one hand, and how Confucius and his followers were described as authoritative transmitters of ancient culture and martyrs on orders from “anti-traditional” emperors (such as the China’s first Emperor, Qin Shihuangdi), on the other hand. These four early texts, therefore, set forth the framework within which later Confucian intellectuals studied the Classics and the ancient knowledge therein, and also understood their relationship with state power. The second track explores these texts’ Sinocentric and pedantic attitude toward the circulation of the Confucian Classics among people and cultural “Others” who lacked training in the archaic language of the Classics. Nowadays, in light of the fact that the Confucian Classics have become required texts in the curriculum of national learning in the People's Republic of China (PRC), this dissertation provides a lens through which one can see more clearly how Confucianism becomes part of nation building, even in the contemporary world.
Date Created
2022
Agent

South Korea: The Interplay Between Tradition and Modernity in East Asian Architecture

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The impact traditional East Asian design has had on modern-day East Asian design has not been extensively researched. This paper examines the relationship traditional East Asian architectural design has with more modern styles of design in order to determine and…

The impact traditional East Asian design has had on modern-day East Asian design has not been extensively researched. This paper examines the relationship traditional East Asian architectural design has with more modern styles of design in order to determine and compare the extent to which Western-style influences have had an impact in Eastern societies. This research specifically focuses on the country of South Korea and explores various case studies and articles dating from the Joseon dynasty (1392-1910) till present day. By comparing factors related to South Korean culture, the environment, religious philosophies, etc., to architectural trends within the country, we are able to explore the distinct and changing architectural values the society has prioritised over the centuries. This research aims to provide a clearer and more solidified timeline of Korean architectural history which in the past has lacked to address the question revolving around the impact tradition has had on ongoing design trends. I then compare South Korean culture and architecture to other case studies on both East Asian and Western societies in order to determine similarities between past and present architectural styles. The introduction of Western-style architecture in East Asian societies occurred at different critical periods of time and has pushed architectural modernisation to evolve at various speeds and in different directions. By comparing case studies on Japan, China and Korea/South Korea, we are able to explore the various interpretations and the extent to which Western-style design has had influence in this countries. While certain symbolic elements in traditional East Asian architecture have been lost during the modernisation phase of design, there continues to be a link between past and present styles through the emergence of new and improved modern features that have acted as replacements for previous ones. Currently trending in South Korean society is the want to revive and reincorporate traditional architectural features in the city landscape. Perhaps a new vision will emerge where past will become the new modern, and this will encourage an even greater extent of traditional influences on modern architecture in East Asia.

Date Created
2022-05
Agent

Space of Imagination, Beauty, and Romance: Yuan Sanqu’s Representation of Female Imagery of the Pleasure Quarters

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This dissertation explores the representation of female imagery associated with the Yuan pleasure quarters by examining a reservoir of Yuan sanqu. Previous scholarship has studied this topic using either historical material or zaju drama texts but has more or less…

This dissertation explores the representation of female imagery associated with the Yuan pleasure quarters by examining a reservoir of Yuan sanqu. Previous scholarship has studied this topic using either historical material or zaju drama texts but has more or less ignored the voluminous corpus of sanqu. Furthermore, scholarly inquiries of Yuan sanqu either have emphasized its development from the Song ci lyrical tradition or its colloquial features. In consequence, the complexity of sanqu as an independent literary genre has been neglected. Using the representation of female imagery of the pleasure quarters in Yuan sanqu as an entry point, on one hand, this dissertation examines the dynamics of this urban and textual space. On the other, it focuses on rarely-studied sanqu pieces and analyzes them in a new light. The pleasure quarters and the production of Yuan sanqu are closely related to each other. In particular, the pleasure quarters are both revealed through the creative process of sanqu and have established sanqu as a distinctive aesthetic experience. The first chapter will focus on women of the pleasure quarters from the perspective of their hierarchical distinctions in terms of beauty, performative nature, and desirability as companions. Chapter two discusses the representation of women of the pleasure quarters in Yuan sanqu. Distinctive from the exclusive focus on privileged outstanding courtesans in poetic and lyrical tradition, Yuan sanqu depicted women from different registers of pleasure quarters. Thus, the genre formulated a diverse picture of images, rhetoric, and modalities. Chapter three examines a major literary tradition mainly sustained by the Yuan sanqu tradition, which is the story of Shuang Jian and Su Xiaoqing. As one of the most important and widespread literary traditions at play during the Yuan, Yuan sanqu writers’ representation of this pleasure-quarters-based story manifests the fulness and diversity of Yuan sanqu as a distinctive literary genre. In the epilogue, I focus on a zaju script by Ma Zhiyuan and an anonymous song suite in relation to this story. By so doing, I intend to show how Yuan qu lyrics incorporated the poetic, lyrical, and dramatic traditions in a somewhat promiscuous way.

Date Created
2021
Agent

The English Translation of the Epitaph of the Wu Kingdom Transcendent Duke Ge of the Left Palace of the Grand Bourne by Tao Hongjing

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This thesis is a translation and analysis of the “Epitaph of the Wu Kingdom

Transcendent Duke Ge of the Left Palace of the Grand Bourne” (Epitaph below). The author was Tao Hongjing (456 CE-536 CE). The subject of this Epitaph inscribed…

This thesis is a translation and analysis of the “Epitaph of the Wu Kingdom

Transcendent Duke Ge of the Left Palace of the Grand Bourne” (Epitaph below). The author was Tao Hongjing (456 CE-536 CE). The subject of this Epitaph inscribed on a stele was Ge Xuan (trad. 164 CE-244 CE). Ge Xuan had two titles attributed to him by later Daoists. According to the Lingbao scriptures, Ge was appointed by the Perfected of Grand Bourne, a heavenly title. Later, in the Shangqing scriptures, Ge Xuan was said to be an earthly transcendent without any heavenly appointment. This debate occurred before Tao Hongjing began to write. This stele epitaph is essential, as it records sayings from both Lingbao and Shangqing scriptures. By reading this translated epitaph, scholars can know more about different versions of Ge Xuan's legend, as well as how Ge Xuan's legend was constantly rewritten by later Daoists.
Date Created
2020
Agent

A work and its shapers: the "Most High Scripture of the Rectifying Methods of the Three Heavens" in early medieval China

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Religions, following Max Müller, have often been seen by scholars in religious studies as uniform collections of beliefs and practices encoded in stable “sacred books” that direct the conduct of religious actors. These texts were the chief focus of academic…

Religions, following Max Müller, have often been seen by scholars in religious studies as uniform collections of beliefs and practices encoded in stable “sacred books” that direct the conduct of religious actors. These texts were the chief focus of academic students of religion through much of the 20th century, and this approach remains strong in the 21st. However, a growing chorus of dissidents has begun to focus on the lived experience of practitioners and the material objects that structure that experience, and some textual scholars have begun extending this materialist framework to the study of texts. This dissertation is a contribution in that vein from the field of Daoist studies. Now split between two separate texts, the Most High Scripture of the Rectifying Methods of the Three Heavens began as a 4th-century collection of apocalyptic predictions and apotropaic devices designed to deliver a select group of Chinese literati to the heavens of Highest Clarity. Later editors during the early medieval period (ca. 220-589 CE) took one of two paths: for their own reasons, they altered the Rectifying Methods to emphasize either the world’s end or its continuation. Detailed study of these alterations and their contexts shows how individuals and groups used and modified the Rectifying Methods in in ways that challenge the conventional relationship between religious text and religious actor.
Date Created
2019
Agent

Engaging in Drama Criticism: Zang Maoxun and His Four New Musical Texts from the Jade Tea Hall

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Description
This dissertation focuses on the corpus of Zang Maoxun’s literary creations in The Collection from the Fubao Hall and investigates his involvement in the cultural activities of the Jinling Poetry Society. Unearthing how Zang and this Society, as self and…

This dissertation focuses on the corpus of Zang Maoxun’s literary creations in The Collection from the Fubao Hall and investigates his involvement in the cultural activities of the Jinling Poetry Society. Unearthing how Zang and this Society, as self and community, played an instrumental role in creating and sustaining a network of dramatists and drama critics in the Jiangnan region, a careful review of his poems and prose shows the extent to which text preparation, commentary, and printing were at the center of his communications with his social circle. Moreover, this dissertation unpacks Zang’s contribution to the promotion of dramatic texts through a thorough examination of his ardent editorial work in revising Tang Xianzu’s The Four Dream Plays from the Jade Tea Hall, the epitome of the southern musical drama. By using Zang’s 1618 Diaochong guan edition of his adaptations as a focal point, this dissertation compares it with three late Ming editions of Tang’s plays printed in the dual colors of red-and-black ink. In light of their innovative editorial designs, and the varying evaluations formed in their pages about Zang’s editorial work, this dissertation reveals the importance of Zang’s adaptations in the history of The Four Dream Plays’ textual transmission, as well as the interplay between the tradition of drama criticism and the new technology of multicolor printing and consequent innovation in editorial principles.
Date Created
2019
Agent

Kokuji: Script and Identity in Japan

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Description
Kokuji are a specific type of character, or Sinograph, present in Japanese script. Kokuji are differentiated from “normal” Sinographs in Japanese, kanji, by the origin. Kokuji are Sinographs of Japanese origin while other kanji in Japanese are of Chinese origin.…

Kokuji are a specific type of character, or Sinograph, present in Japanese script. Kokuji are differentiated from “normal” Sinographs in Japanese, kanji, by the origin. Kokuji are Sinographs of Japanese origin while other kanji in Japanese are of Chinese origin. The purpose of this paper was to explore how this kind of character has changed since it was first identified and the implications these changes have on Japanese identity. This essay is split into three chapters past the introduction. The first chapter explains the terminology used in the rest of the paper, how Sinographs work, and explores similar phenomena in other scripts. The second chapter focuses on the status of kokuji during two periods of Japanese history, the Edo period (1603-1868) and the Meiji period (1868-1912). The Edo period is relevant because during this period kokuji were first recognized as entities separate from normal kanji. The Meiji period is important because it marks the shift into modern Japan, and it started the linguistic and orthographic reforms that would continue until the late twentieth century. The last chapter takes a closer look at the linguistic reforms that took place during the Taishō period and the Shōwa periods. The Taishō period has Japan still trying to become a “modern” nation and continues some of the language reform from the Meiji period. The Shōwa period post-World War II enacts many of the language reforms that shape modern Japanese language. Through these linguistic reforms we can figure out why kokuji have fallen out of use and why the remaining ones are somewhat common.
Date Created
2019-05
Agent

To or Be or Not To Be: The Role of Syntactic Movement in Distinguishing Chinese Prepositions and Verbs

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Description
For typological and historical reasons, the category of prepositions in Modern Chinese
has been long debated in terms of its distribution, its classification, and even its very existence. This paper defends the existence of a prepositional category in Chinese as well…

For typological and historical reasons, the category of prepositions in Modern Chinese
has been long debated in terms of its distribution, its classification, and even its very existence. This paper defends the existence of a prepositional category in Chinese as well as offers means to identify the category and distinguish prepositions from verbs by analyzing their distribution and syntactic capabilities. The research for this paper is based on existing literature on Chinese prepositions, Chinese syntax, and linguistic theories as well as on corpus analysis.
Date Created
2019-05
Agent
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