Within Chinese cultural history, they can find explanations for many major issues that have been haunting historians and cultural theorists for decades. Western scholars of social science and humanities might also benefit from this study. One might see a future of a mature literary language that is overly inflated with law, and a political system that is maintained by increasingly sophisticated media rhetoric. An understanding of the history of Chinese language and its impact upon the Chinese mind can be helpful for the students of Western culture because it illustrates an experience beyond the horizon of contemporary speakers of Western languages whose literatures have evolved for only a few hundred years. What happened to Chinese will take place in younger languages in their own time and in their unique and native forms. The longer a language lives, the richer, more diverse and refined it becomes. It attempts to show that the way in which Chinese literature grew and reacted to its music and visual expression is essentially the same as contemporary English and other Western languages. It is written in the familiar terms of English speakers. A Few Final Words 87 89 117 145 180 209 Chapter Notes Bibliography Index 213 221 261 v This page intentionally left blank Preface This book is a general history of the Chinese language from the ancient to early modern period. Painting, Theatre and the Imagery of Poetry 4. On the cover: Portrait of Li Qingzhao (Palace Museum, Beijing) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Je›erson, North Carolina 28640 Table of Contents Preface Introduction 1 3 Part I. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Language and culture - 2011047290 CATALOGUING DATA ARE AVAILABLE © 2012 Sharron Gu. Includes bibliographical references and index. A cultural history of the Chinese language / Sharron Gu. If you are in a hotel or fancy restaurant it is better to use the generic terms.A Cultural History of the Chinese Language ALSO BY SHARRON GU Language and Culture in the Growth of Imperialism (McFarland, 2012) A Cultural History of the Chinese Language SHARRON GU McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Gu, Sharron. The street vendors would address any potential customers 靚女 (leng3 neoi5)/靚仔 (leng3 zai2) to boost sales. The key is to say it very causally, without any tone that might sound like sexual harassment for others. 靚女 (leng3 neoi5)/靚仔 (leng3 zai2) literally "pretty girl" and "handsome boy" respectively, mostly used in HK style restaurants, bars, and street markets. 阿姐 (aa3 je1)/靚姐 (leng3 je1) literally "big sister" and "pretty big sister" respectively, used for elder women, mostly in dim sum restaurants and HK style restaurants (茶餐廳 caa4 caan1 teng1) 伙記 (fo2 gei3) "staff", very generic, can be used for both male and female in any restaurants 小姐 (siu2 je2) "miss", very generic, can be used for waitress, manager, customer, stranger, etc. In Hong Kong, the term used for addressing waiters/waitresses really depends on the types of restaurant. We're impressed! We love that you are a very serious learner!
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