13. - 16. maj 2019
Od 13. do 16. maja 2019 se bodo zvrstila gostujoča predavanja doc. dr. Davida Uherja (Palacky University Olomouc).
Udeležba je obvezna za prvi letnik sinologije, toplo pa ste vabljeni vsi, ki vas zanimajo naslednje vsebine.
Predavanja bodo v angleškem jeziku.
Pon, 13. maj 2019, 9.40-11.10, pred. 01 (prvi del)
Čet, 16. maj, 11.20-12.50, pred. 102 (drugi del)
In the 3rd century BC, significant qualitative changes in Chinese language triggered the emergence of Chinese traditional linguistics. In the first stages of its development, the historical lexicology was booming. As consequence to the scholarly discussion over the authenticity of the Confucian Canon grammatology was constituted in the 1st century AD. In its very beginnings, this linguistic discipline focused on analysing the concepts of liushu 六書 the six categories of Minor Script, bushou 部首 determinatives and chongwen 重文 allograms. The results of this research were generalized by the Xu Shen’s (?54–?125) colossal monograph shuo wen jie zi 說文解字 the Structure Analysis of Primary Characters and Meaning Explanation of Secondary Characters (Shuo Wen for short) in 121 AD. Minimal attention is given to the reasons of its establishment, beginnings of its history, analysis of its successes in research and the summary of its further development, especially between 1735 and 1820 in relevant Western Sinological literature. Nevertheless, it is doubly true that understanding of traditional Chinese culture must necessarily be based on a solid lexicological and grammatological analysis of the original texts and the Shuo Wen is undoubtedly the key to the Confucian Canon. However, in the western history of world linguistics, the question of Chinese linguistics has been disproportionately simplified to enumerate the production of dictionaries. Therefore, this paper concentrates on argumentation how these approaches can be misleading. The audience is expected to have an intermediate knowledge of Chinese writing system. Although the lecture is mainly created for Sinologists, presence of colleagues Japanologists and Koreanists is warmly welcome.
Pon, 13. maj 2019, 11.20-12.50, pred. 01
Modern Chinese ceases to be a typical tonal language. This is why the changes in its supra-segmental plane are gradually becoming more significant. These changes are marked by the loss of fully tonal syllables, which subsequently has an impact on the rhythmic structure of the Chinese text. This issue is not, in my opinion, abroad – and after the decease of professor Oldřich Švarný (1920–2011), even in the Czech Republic – paid enough attention. Little is known, for example, about the prosodic realizations of stylistically different texts in modern colloquial Chinese. Therefore, this paper aims to answer the basic questions of the prosodic character of Chinese texts. To a large extent, it is inspired by the chapter “Rhythmical Features and Prosodic Transcription of Chinese” contained in the Colloquial Chinese in Sentence Examples III (Palacký University 1998, pp. 7–21), with the fundamental difference that his prosodic analysis subjects to isolated sentences. However, corpus of this was created on the basis of regulated dialogues conducted by two – one female and one male – native speakers of Beijing dialect. The audience is expected to have a basic knowledge of modern Chinese phonology as well as pinyin transcription.
Pon, 13. maj 2019, 14.40-16.10, pred. 03
Orientalism in the Star Wars
Orient means the East, Orientalism is a science about the East as well as an imitation of the East by the West. In 1978, the theme of this imitation was reopened by Edward W. Said (1935–2003), professor of English language and comparative literature at Columbia University in his book Orientalism. From his point of view, Orientalism is a sceptical post-colonialism, strongly ideologized Western science about East, which actually alienate the West from the East. In fact, it is a kind racism for him, since Orientalism does not consider different cultures to be equal. His “negative Orientalism” prompted an immediate criticism of Orientalists, and the result of the subsequent discussion was, among other things, “positive Orientalism” as a description of a culture that brings different cultures closer to each other. On the example of George Lucas’s Star Wars (SW for short), the author of this paper attempts to demonstrate the different types of views on the Orient, primarily through “ornamental orientalism” and orientalised concepts within the SW, namely, the Force, teachers and the Jedi Knights. Intention of this paper is to open a discussion about hidden ways of manipulating audience through the media. At the same time, it tries to define “real orientalism.” The audience is not expected to have any knowledge of Orientalism, neither the Star Wars.