multiple writing systems – Translation Networks

multiple writing systems

Cataloguing Writing Systems of Korean Language Works in HathiTrust, or Why I Wish They Would

Welcome to My HathiTrust Collection!

One of my life’s great passions is Korean language, so when I was first introduced to HathiTrust, of course I wanted to explore the Korean language sources first. I was impressed with the collection overall, but I found that many of the works were illegible to me because of the writing system used. Korean has two writing systems: Hangeul which is phonetic and is used almost ubiquitously in the modern day, and Hanja which employs Sino-Korean characters (Chinese characters, though many have different meanings than when used in Chinese languages). Hanja was the dominant Korean writing system (for scholarly works in particular) until well into the 20th century. This being the case, many of the Korean works in the HathiTrust collection are written predominantly in Hanja. Though I was surprised to find that several of the works I looked at were written in a combination of scripts. I was further surprised that information on the writing system used is not provided in the metadata for Korean works in HathiTrust. This seems like useful information to provide, as the scripts are vastly different and could impact one’s ability to read the text.  As a monument to these discoveries, I decided to make my HathiTrust collection out of works that use multiple writing systems, in this case Hanja and Hangeul.

An example that well represents my collection is this work from 1924 entitled Kaebyeok (link). It features the use of Hangeul and Hanja mixed together. I found this interesting because I was not expecting to find sources that use both Hangeul and Hanja together so closely.

(For those new to Korean scripts, character blocks with characters that look like: 이것은 한글 예다 are Hangeul)

The first page featured in the screencast shows large sections of Hangeul (most notably in the boxed sections) alongside other words written in Hanja. The second page is purely written in Hanja. (link to pages)

Below is the catalogue entry which contains the metadata about this work. You’ll notice that the language is listed as Korean, but there is no information on the script that is used (beyond the title which is listed in it’s original form in Hanja).

Why Should I Care About Cataloguing the Use of Hanja vs. Hangeul?

For at least two reasons! Firstly, not everyone who speaks Korean can read Hanja, or at least Hanja at the level necessary to fully comprehend some works (it takes a lot more dedicated study than Hangeul). If someone is looking for Korean sources on a certain topic, it would be useful to be able to filter based on the script they can read. Secondly, there is historical and cultural significance to the use of Hanja vs. Hangeul. Hangeul was created in the late 1400s to be an accessible writing system that anyone, regardless of education level, could use. For much of history there were class-related differences between what was written in Hangeul vs. Hanja. If one is looking for historical sources and is curious to see different perspectives, looking for sources written in Hanja vs. in Hangeul could prove useful. Having the ability to filter based on writing system would improve the quality and accessibility of HathiTrust’s Korean language collection.

Connecting to the Sawyer Seminar on Building Translation Networks in the Midwest Using HathiTrust

One lightning talk from the seminar that related to my collection was the “Chinese translation of Bengali prose poems via English” presented by Xiaoxi Zhang. In this talk Xiaoxi discusses how Chinese writing evolved through history in terms of character usage (simplified vs. traditional). Like Korean, the motivation behind implementing the simplified Chinese writing system was to improve public literacy. The result was that many modern works and translations are written using the simplified Chinese writing system. This difference is not catalogued in the metadata of Chinese sources on HathiTrust either. Like with Korean, it would be useful to include this information in Chinese sources because of the influence it has on language comprehension (Xiaoxi mentioned names, particularly transliterated names, as a place where this matters).

If I were to add Kaebyeok (or any work in my collection) to the map of works mentioned in the seminar lightning talks, I would connect it to The Baitál Pachísí. This book features three different writing systems: Hindústání, Nágarí, and English. Aan important distinguishing factor between Kaebyeok and The Baitál Pachísí  is that that the use of three writing systems is mentioned in the metadata for The Baitál Pachísí.

Connecting to Other Blog Posts

One post that this post connects to is “Cataloguing of Works in Japanese and Japanese-Related Languages in HathiTrust” by Kristen. In this post, Kristen focuses on the lack of writing system related cataloging in many Japanese language sources in HathiTrust, much like with Korean. The example discussed provides a mix of Japanese and the Ainu language, it is fascinating to learn about the implications of listing this and other sources as simply “Japanese.”

Another related post is “Translating Chinese” by Yining Zhang. In this post, Yining discusses the translation and transliteration of proper nouns and how the evolution of Chinese writing influenced these practices. This post tied in many of the connections I found with Xiaoxi Zhang’s lightning talk from the Sawyer Seminar.

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Cataloguing of Works in Japanese and Japanese-Related Languages in HathiTrust

When I was searching through HathiTrust for Japanese works, I came across works that have different writing formats and sometimes contain rare, indigenous languages but are all categorized simply as ‘Japanese’. In this post, I would like to bring attention to these subtleties and make connections to collections that some of my other classmates have created with similar ideas in order to aid the effort to create a Translation Network with rich connections that artificial intelligence cannot recognize.

The screencast below is showing a work in HathiTrust that is categorized as written in Japanese. It is true that it is mostly in Japanese, but the work is about the Ainu culture and language – a indigenous group in northern Japan – and contains words from their language, albeit in katakana and romanji since Ainu does not have a written system. I would not go as far as saying it is miscatalogued, but I believe having a more granular approach to cataloguing works will make the HathiTrust experience richer. My classmate, Teddy Sweeney, had a similar experience which he outlined in his post, where he found a work that was catalogued as French but was not written in French, and a work that was in Slovak but was catalogued as an ‘Undetermined’ language.

In the Sawyer Seminar that the University of Michigan Department of Comparative Literature held, speaker Xiaoxi Zhang, during the ‘lightning talks of engagements with HathiTrust sources’, mentioned the transition of horizontal text in China from being written right to left to left to right after the establishment of the People’s Republic of China. This can be seen in the work The Crescent Moon linked in Ali Bolcakan’s Translation Network, where the horizontal title in Chinese is written right to left. In Japan as well, horizontal text was mostly written right to left until after WWII (after WWII, they were all written in left-to-right format). Some great examples found in HathiTrust are from newspapers, and the pdf and image below are pages from newspapers in HathiTrust. Both pages have horizontal titles that are read from right to left. When looking at their catalog records in HathiTrust, there is no mention of the writing format and for those who are unable to read Japanese, it would be impossible to recognize that one horizontal text in Japanese is written right-to-left and another left-to-right. My classmate Claire Russell brought up a similar concern in her post. Her collection is about Korean works with mixed writing systems – specifically works containing Hangul and Hanja. They are very different writing systems, yet they are not differentiated in the catalog record. She and I both believe that categorizing works by the specific writing systems/formats they use, even within the same language, would be highly valuable to HathiTrust users.

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Hanzi? Kanji?

My collection: http://: https://babel.hathitrust.org/cgi/mb?a=listis&c=1122358922

This collection is based on works written by Tao, Qian and Su, Shi. They were both very famous authors one thousand years ago and their works are wide spread in East Asia. The screenshots shows the Chinese version and the Japanese version of Su, Shi’s Qian Chibi Fu. Even though they look very similar, how they sound are very different. Take the first sentense for example, the Chinese version is pronounced as “Ren xu zhi qiu” while the Japanese version is “jin jyutsu no aki.” They sound completely different from each other. It is interesting to see how Chinese and Japanese have similar writing system but very different speaking system one thousand years ago.

As you can see in the screenshots below, this book has Chinese on one page and Japanese on another page and their writing systems share so many similarities. I am able to establish a connection to The Baitál pachísí in the lightning talk mindmap. It is very similar to the books written in multiple languages during the colonial era. In addition, the Xin yue ji (The crescent moon) also connects to the example below since both are collections of poems. Both are written in non-simplified Chinese in a vertical order from right to left. However, as you read the actual content of them, you can find that their use of grammar and choice of words are completely different while the hanzi characters they use are the same. Xin yue ji is more colloquial and informal and my example is more serious and hard to understand.  

Catalog: https://catalog.hathitrust.org/Record/102432966

Click on the screenshot to see the Hathitrust page.

Chinese

Japanese (starting from the second right most column)

https://babel.hathitrust.org/cgi/pt?id=uc1.b3628003&view=1up&seq=58&skin=202

From Xiaoxi Zhang’s presentation on a Chinese translation of Bengali prose poems via English, I learnt that Chinese has two different sets of characters and writing systems. To me, it is mind-blowing to see that written Chinese is completely different from today, and I am unable to read if I time traveled to China 100 years ago. Also, Zhang’s presentation is one of my major reasons to research deep into ancient Chinese literature in Asian297. During my research, I found a fun fact that at that time, translated books about math, science, and engineering were written from left to right horizontally at that time, since the translators found it annoying and hard to read if they tried to squeeze all the math formulas in the Chinese texts written horizontally.

In Kimberly’s blog, I really like how she compared two versions of Jing Ping Mei published in different times to show how the way of language is being used and the examples of the transformation of Chinese characters. Even though both literature and characters evolved a lot during centuries, from her example, I learned the change in the language itself. And the later part is a perfect example of how Chinese change in its form of writing, making connection to my discussion about the ancient writing system in China and Japan, as well as my connection to Xin Yue Ji.

Highlighting translation

I managed to get access to the no-full-view book via the interlibrary loan, which is super cool. The book is a Chinese-English translation of the poems and the author made connection between Tao, Qian, the poet, and a British poet, David Watson since Tao, Qian work satifies Watson’s theory of poetry. This is a connection that can never be found by robots.

Category: translation

Under this category, I am able to connect my work with abschmit, tsween, huang, zhang and yan’s discussion on their collections

Link to network: http://www.translationnetworks.com/networks/341

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Sufism through Space and Time

My HathiTrust collection “Sufism through Space and Time” gathers a wide diversity of Sufi sources into one accessible place. I used my prior knowledge of important Sufi figures, Sufi movements, and Sufi art styles as a criteria to search for related sources. The Sawyer Seminar lightning talk by Heather Christensen of HathiTrust, inspired me to do more research about the upside-down book in the top right corner of the interactive map. Fixing errors within the system was a great added aspect of making my Sufi collection . I wanted to include different languages, ideologies, and time periods. While individuals disagree about who is considered a “Sufi,” I took an objective self-identifying approach. I let individuals decide who they deem authentic and instead focused on showcasing the complexity of Sufism.

I made sure gender representation was an active part of my collection making, especially given the rich history of Sufi women. The legend of Rabai for instance, describes a woman who outwits and outmatches the acclaimed Hasan Basri. Their interaction demonstrates the legacy of fierce women throughout Middle East history.

In this PDF we see Rabia laugh off Hasan’s marriage proposal by calling him worldly for even suggesting such a contract. She demonstrates her greater commitment to piety. Later she explains how ridiculous thinking about marriage is when cosmic existential debates are unsolved. Sufism lives on to the modern day. For instance, activist Sayyid Jamal al-Din Afghani was involved with recent pan-Islamic and neo-Sufi movements. A book about Afghani’s work was featured (upside-down) on the Keynote graphic. If the book had a “Sufi” tag it would be helpful for users to connect with other works. See how I made the connection in the video below! A classmate’s blog post that caught my attention was by Zara Fields. The intriguing collection focuses on “various love poems from famous Arab authors throughout time.” My personal collection is on Sufism and is rich with MENA Sufi poets. From Zara’s collection, I learn more about Arabic poetry fundamentals which influence Sufi poetry. You can discover her fascinating collection here.

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