Strategies of Graphing Ideas in Shang Oracle Bone Scripts

서지정보

ㆍ발행기관 : 세계한자학회 ㆍ수록지정보 : 世界漢字硏究 / 6권 / 2호
ㆍ저자명 : Dalu Da WEIH

목차

1. Introduction（引言）
2. Ten Writings（十書）
3. Pictographs and Symbolism (象形和象意造字)
4. Denoting Design （指事造字）
4.1. The Indicator ‘Foot’
4.2. The Indicator ‘Arrow’
4.3. The Indicator ‘Mouth’
5. Analogy Design (比喻造字)
6. Narrative Design（景象造字）
7. Character Formula（字式造字）
8. Modifier-modified（偏正造字）
9. Mutual Illustration（轉注造字）
10. Shape Loan（形符假借）
11. Semantic Loan（意符假借）
12. Phonetic Loan（音符假借）
13. Form Phoneticization（形變音化）
13.1. Adding a phonetic glyph
13.2. Distorting the script
13.3. Replacing a part of the script with a phonetic glyph
14. Conclusions（結語）
References

영어 초록

Similar to Sumerian proto-cuneiform writing, the nature of Chinese writing is fundamentally ideographic, in which concepts or thoughts are represented visually rather than through abstract speech sounds. This paper explores ten ways to form Chinese characters by using the decoded characters through their ideograms. A character comes from thoughts, the thoughts come from images, and the images themselves come from the object or the event depicted. Therefore, the same character can be used in different dialects or languages to depict the same concepts. Only when there are enough ideograms to create their graphs for phonography can we develop phonography. During the first stage of hundreds of years, most Sumerian clay characters were pictograms and ideograms. The majority of the phono-semantic compounds appeared in the second stage when the foreign Akkadians used Sumerian characters. Just as the majority of Shang bone characters were pictograms and ideograms, most phono-semantic compound characters were modified and created by the foreign Zhou people later. At present, western theories have not followed the traditional path to the meaning of thought. The ten strategies of ideographic writing are the conventional path to the meaning of thought, rather than a bridge between language.

참고 자료

없음