Vol. 1: An English and Chinese Annotation of the Vocabulario de la Lengua Mandarina Vol. 2: Pinyin and English Index of the Vocabulario de la Lengua Mandarina
Author: W South Coblin
Western missionaries contributed largely to Chinese lexicography. Their involvement was basically a practical rather than a theoretical one. In order to preach and convert, it was necessary to speak Chinese. A missionary on post needed to learn at least two languages, the national Guanhua, the "language of the officials" or "Mandarin," and the local vernacular. The first lexicographical work by missionaries was a Portuguese-Chinese dictionary compiled in the late 1500s by Francisco Varo (1627-1687), a Spanish Dominican based in the province of Fujian, was legendary for his superb mastery in Mandarin. His Vocabulario de la Lengua Mandarina, a Spanish-Chinese dictionary, is made available to modern readers in the present study, which is based on two manuscripts held in Berlin and London. Volume 1 contains the text of Varo's glossary, with English translations offered for all Spanish glosses and Chinese characters added for all Chinese forms. Volume 2 includes a pinyin index to all Chinese forms in the text and a selective index to the English translations of the Chinese glosses. The Vocabulario is mainly devoted to the spoken language, but includes literary forms as well. Varo was also sensitive to other matters of usage, e.g., questions of style, new expressions coined by the missionaries, specific expressions in Chinese and in European culture, Chinese customs and beliefs, and aspects of grammar. The Vocabulario is recommended for readers interested in Chinese linguistics, lexicography, Sino-Western cultural relations and the history of Christianity in China.
An English translation of Arte de la lengua Mandarina. With an Introduction by Sandra Breitenbach
Author: W. South Coblin
Publisher: John Benjamins Publishing
Category: Language Arts & Disciplines
Francisco Varo’s Arte de la Lengua Mandarina, completed ca. 1680, is the earliest published grammar of any spoken form of Chinese and the fullest known description of the standard language of the seventeenth century. It establishes beyond doubt that this “Language of the Mandarins” was not Pekingese or Peking-based but had instead a Jiang-Huai or Nankingese-like phonology. It also provides important information about the nature and formation of pre-modern standard forms of Chinese and will lead to revisions of currently held views on Chinese koines and their relationship with regional speech forms and the received vernacular literature. Finally, it provides a wealth ot information on stylistic speech levels, honorific usage, and social customs of the elite during the early Qing period. The book provides a full translation of the 1703 text of the Arte, an extensive introduction to the life and work of Varo, an index of Chinese characters inserted into the translation, and an index of linguistic terms and concepts. It should be of interest to a diverse readership of Chinese historical, comparative, and descriptive linguists, students of Qing history and literature, historiographers of linguistics, and specialists in early Western religious and cultural contact with China.
Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.