中國 文字의 象形性과 表音性
Creating Meaning through the Correlation between Sounds and Characters in Chinese Language
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Understanding of Chinese characters outside the Chinese cultural bloc has oscillated between two main axes. One viewpoint has emphasized the characters’ ideographic features whereas the other one has emphasized their phonetic ones yet, neither viewpoint properly explains the multi-faceted qualities of Chinese characters, which cannot be described solely as ideographs or phonographs. I proposes to point out that one must accurately understand the phonetic characteristics and semantic context hidden behind the mask of ideographs. From its nascent stage, the system of Chinese characters has progressed by embracing the tension between ideographs and phonographs. Thus, I intend to highlight that it is the interrelationship between ideographs and phonographs that has generated the meaning of Chinese characters throughout the history of this writing system. The formation of meanings in Chinese characters does not rely solely on either the semantic links of ideographs or on speech-based phonetic symbols. In general, if we regard the function of writing as mere recording of speech, this view limits too narrowly the meanings generated through display of writing. This is especially true of Chinese writing which keeps some distance from an exact recording of what was spoken. Thus, we must pay attention to the multiple facets exhibited throughout the history of Chinese writing and its interpretation and also understand clearly that Chinese writing has evolved in the midst of the tension between the two axes of phonetic and semantic features. This understanding of Chinese writing will let us see that this very tension was indeed the source of the vitality, creativity, and adaptability of Chinese characters.
Abstract
Understanding of Chinese characters outside the Chinese cultural bloc has oscillated between two main axes. One viewpoint has emphasized the characters’ ideographic features whereas the other one has emphasized their phonetic ones yet, neither viewpoint properly explains the multi-faceted qualities of Chinese characters, which cannot be described solely as ideographs or phonographs. I proposes to point out that one must accurately understand the phonetic characteristics and semantic context hidden behind the mask of ideographs. From its nascent stage, the system of Chinese characters has progressed by embracing the tension between ideographs and phonographs. Thus, I intend to highlight that it is the interrelationship between ideographs and phonographs that has generated the meaning of Chinese characters throughout the history of this writing system. The formation of meanings in Chinese characters does not rely solely on either the semantic links of ideographs or on speech-based phonetic symbols. In general, if we regard the function of writing as mere recording of speech, this view limits too narrowly the meanings generated through display of writing. This is especially true of Chinese writing which keeps some distance from an exact recording of what was spoken. Thus, we must pay attention to the multiple facets exhibited throughout the history of Chinese writing and its interpretation and also understand clearly that Chinese writing has evolved in the midst of the tension between the two axes of phonetic and semantic features. This understanding of Chinese writing will let us see that this very tension was indeed the source of the vitality, creativity, and adaptability of Chinese characters.
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