INNOVATIVE TECHNIQUES AND METHODS OF STUDYING THE GRAPHIC ELEMENTS OF THE CHINESE LANGUAGE
Today, the Chinese language is one of the most studied languages in the world. As practice shows, there is an urgent need for a deeper theoretical study of issues related to the peculiarities of learning Chinese, analyzing the difficulties of perceiving Chinese hieroglyphs and ways to overcome them. In this regard, the problem of introducing innovative teaching methods, as well as emerging issues of a technical and informational nature, deserves closer attention. Particular interest is to the experience of Chinese colleagues from leading research centers and universities and conducting of joint scientific research on the methods of teaching Chinese.
Key words: Chinese language, methodology, hieroglyphs, exchange of experience, university, teacher.
The Chinese system of hieroglyphic characters is one of the most ancient scripts. This is the only hieroglyphic writing of the world that was invented before our era and continues to exist today. Hieroglyphic writing, which was invented in almost all foci of ancient civilizations — in the Middle
East, South Asia, China, Central America, disappeared, leaving behind a few monuments. And only Chinese hieroglyphic writing throughout its history has been able to adapt to the changing conditions of the development of Chinese civilization and remain a difficult but acceptable means of writing for China. [1, 9]
It is far and mysterious for Western civilization, it causes a huge interest in it. The significance of hieroglyphic writing in the development of Chinese society is enormous. Hieroglyphics, being one of the wise and wonderful creatures of the people, is an integral, organic part of Chinese culture and art. It is thanks to this writing that the treasures of Chinese spiritual culture, works of ancient civilization, the richest literary monuments and monuments of ancient philosophical thought have been recorded and preserved over thousands of years. For centuries, calligraphy was valued above other arts and was an indispensable attribute of an educated person. Handwriting samples of great masters were valued more than precious furniture, paintings or jewelry. And in our century, calligraphy plays a significant role in the Chinese worldview. [2, 12]
Chinese writing, being hieroglyphic, is unique. From the beginning of its development, the Chinese letter was intended to express a semantic load, rather than a phonetic one. The role of hieroglyphics has increased with the development of territorial dialects. Under the conditions of a diverse dialectal and multilingual Chinese society, such writing performed an important political function — it ensured the unity of the country: it contributed to the acceleration of information circulation, the exchange of knowledge and ideas.
The attitude of the Chinese themselves to the hieroglyphs was invariably extremely respectful, since for them the Chinese hieroglyphic writing served not only as a method of transmitting and preserving information, it was a heavenly script, transferred to the earth plane, i.e. It was one of the ways of human communication and Heaven. The Chinese writing was connected with the culture of magic by its very source. The archaic concept of calligraphy associated with magic and the ability to transfer to writing the “letters of Heaven” also underlies modern calligraphy [3,251].
According to the typological classification, the Chinese language together with other East Asian languages belongs to the isolating languages. Its important structural feature is that each morpheme — the minimum significant unit — is a separate syllable. The sign of a Chinese letter conveys a syllable morpheme, which may be a word, a significant part of a word, significant or service, or just a syllable that does not have its own meaning. Each morpheme is indicated by a separate hieroglyph; for practical use of the letter, it is necessary to study at least 6-7 thousand hieroglyphs, differing from one another in their own outline.
Each hieroglyph has its own phonetic expression, reading, equal to the root syllable and
different for each dialect. It is considered to be that the “reading” of a hieroglyph in ancient times corresponded to the spoken designation of a word (concept), but over time, the separation of writing from colloquial speech led to the fact that reading a hieroglyph became a purely conventional phonetic designation of a sign, having little in common with the word existing in the spoken language for the expression of a concept.
Most of the hieroglyphs are not used to designate certain words, but are signs expressing concepts. Therefore, the same hieroglyph, depending on the place in the phrase, can mean both the verb form of a particular concept, and the noun, and adverb, and so on.
Chinese writing, being not a phonographic, but an ideographic letter, consists of conventional signs, hieroglyphs, speaking to the eye, and not to the ear, thanks to which it is understandable to peoples who have different languages from one another.
Chinese language has a special sound structure, consisting of a limited number of syllables (a little more than 400 in normative pronunciation against, for example, 1200 in English). Given that in the Chinese lexicon there are up to 50 thousand words, each syllable corresponds to a large number of words.
In the perception of a written sign, three sides are distinguished: graphic, sound, and semantic (content). Hieroglyphic writing conveys meaning using a graphic form. The same hieroglyph can be read in several different ways, its reading may not even be known, but the value can be set.
Each syllable in normative pronunciation can be pronounced in four different ways (tones), which significantly reduces the likelihood of word confusion when listening to a language by ear for native speakers. There are four tones in the Chinese national language, in dialects up to nine.
Chinese characters are built on a specific system: they consist of a relatively small number of graphic elements. A graphic element, or trait, is the simplest indivisible component of a hieroglyph. Graphic elements, as a rule, do not have independent significance. Combining with each other and writing in a certain sequence, they form more complex significant units (graphemes or keys) that can be used either independently, as a separate simple hieroglyph, or as an integral part of a complex hieroglyph.
Learning the meaning of graphemes helps students understand the structure of hieroglyphs and it is easier to remember their outline (and sometimes the meaning). In addition, in most Chinese dictionaries, hieroglyphs are arranged according to the key system: hieroglyphs having the same grapheme are grouped together, and this common grapheme itself is the key of the whole group. Therefore, knowledge of the keys is necessary in order to quickly find the hieroglyphs in the dictionary. Previously, there were 214 such keys. Recently, the general list of keys has been revised by Chinese linguists. The signs used in a limited number of hieroglyphs or in unused characters are excluded from it. Now China has adopted a table that includes about 190 keys (including variants of some keys).
Computer coding system of Chinese characters has opened the hieroglyphic writing to the information age. The technical revolution associated with the mass use of computers has a controversial effect on the Chinese writing system and the traditional art of calligraphy.
A computer is capable of finding the most complex hieroglyphs in its memory. If you forget how to spell one or another sign, you no longer need to remove the dictionary from the shelf or go to the library for it — the computer will do it for us.
At present, a variety of convenient ways of inputting hieroglyphs into computer memory have been developed (one of the most popular is the phonetic principle).
The newest computer programs are equipped with numerous alternative versions of various books, and now everyone has the opportunity to get acquainted in detail with their features and type the text he needs in one or another graphic style. Finally, the technically complex problem of combining a hieroglyphic and alphabetical set in one text has been solved [4, 231].The newest computer programs are equipped with numerous alternative versions of various books, and now everyone has the opportunity to get acquainted in detail with their features and type the text he needs in one or another graphic style. Finally, the technically complex problem of combining a hieroglyphic and alphabetical set in one text has been solved [4, 231].
All of this — visible positive results uncontrollably developing technical progress. But it has its downside. Computer released the student from having to work long and hard, gradually building up writing skills. Already now they are writing not so convincingly and beautifully as in former times, and this tendency will continue to manifest itself more and more clearly [5, 142].
Therefore, Chinese teachers, like Kazakhstani teachers, strongly recommend those who decide to learn Chinese and the Chinese writing system not to rush using hieroglyphic computer programs [6, 17]. Only after passing through the difficult traditional school of mastering the intricacies of hieroglyphics, the trainees will be able to acquire the necessary body of knowledge and skills that even the newest cybernetic machine cannot provide.
Chinese calligraphy is not only of practical importance, helping people in solving the problems of everyday life. In inseparable unity with painting, it represents the main direction in the traditional art of China. In the past, works of calligraphy were appreciated and collected by everyone, regardless of place in the social hierarchy. And today they can be seen everywhere. They are not only decorated with halls and offices, for which they are pasted and placed in a frame, they are also used in the signs of institutions, shops, as well as in the inscriptions on memorial steles and other structures. Many of them have high artistic value. Recognized masters of calligraphy at all times were distinguished not only by the perfect technique of brushing, but also by genuine literary talent and wide erudition.
Chinese calligraphy is an art that highly promotes both the physical and spiritual development of the personality. Calligraphy helps to develop such qualities as patience and perseverance in a person [6, 94]. It is known that many calligraphers of the past have lived a long and deeply meaningful life. In addition, calligraphy is capable of influencing a person’s character and instilling high moral qualities in him; therefore, educated people in China have always attached exceptional importance to calligraphy. In China, every child is already in elementary, and then in high school she receives compulsory calligraphy training. Calligraphy skills are then improved in colleges and universities. All this suggests that calligraphy occupies a very important place in the modern education system of China. Creation of various societies and associations of calligraphers, support for various calligraphy enthusiasts, the establishment of awards to the winners of painting and calligraphy contests — all this testifies to the serious attention paid to calligraphy here. For several thousand years of its existence, Chinese calligraphy has played an important role in the spiritual perfection of man and in expressing the aspirations and ideals of the educated part of society not only in China [7, 61].
Teachers of the department of foreign languages of the Kazakh State Women’s Teacher Training University have accumulated some experience in the preparation of textbooks on various aspects of the Chinese language [8]. They are actively sharing this experience at various international, republican, intercollegiate scientific and methodical seminars and conferences [9].
Nevertheless, there is still a lack of scientific development of the problem of teaching students and undergraduates the Chinese language using innovative technologies. The study of the problem is also relevant in terms of strengthening international cooperation of the KazSWTTU with universities in the far and near abroad.
Work on the creation of textbooks began with the study of special literature that deals with the theory of the textbook, existing textbooks, as well as scientific and methodological literature on the main issues of teaching methods. In the process of working on literature, the generalization and understanding of pedagogical and methodological experience, enrichment and expansion of the authors’ own position of the textbooks took place.
Working on textbooks, the authors studied a sufficient amount of scientific and methodological literature, conducted research to identify the communicative needs of students, participated in regular seminars and consultations.
The accumulated experience, the authors of the textbooks highlight the main goals — the formation of competence in various types of speech activity: reading, listening, speaking, writing, in the main areas of communication (scientific, socio-political and socio-cultural).
At present, the geopolitical and economic realities in our country have changed, the socioeconomic transformation of society is taking place. Under these conditions, modern Chinese language textbooks are designed to reflect the political and socio-economic realities of the state. Therefore, in the new tutorials, relevant materials of a cross-cultural nature were introduced, relating to the history and modernity of our country.
The authors of textbooks consider it necessary to develop specific Kazakhstani material, including such topics as prominent figures of Kazakhstan, national holidays and traditions, historical sights.
Thus, today it seems timely and relevant to develop a concept for an integrated ChineseKazakh / Russian language training aimed primarily at measuring learning outcomes: the competitiveness of graduates, their relevance in the labor market, and their willingness to work in the conditions of new market relations. The search for effective ways of teaching Chinese leads to the conclusion that it is necessary to develop a new approach in teaching methods and methodologies, which is based on the idea of interconnected learning of language and culture in order to develop not only language, linguistic, but also communicative competence in students.
REFERENCES:
1. T.P. Zadoyenko, Juan Shuin. Basics of the Chinese language. Introductory course. M.,
1983. — p.210
2. Sofov M.V. Chinese language and Chinese writing. Lecture course. — M: AST, East-West 2007. — p.640
3. Maslov A.A. China: bells in the dust. The wanderings of the magician and intellectual. — M .: Aletheia, 2003. — p.260
4. Zadoyenko, TP, Huang Shuin. The initial course of the Chinese language. Part III — M .:
Muravei, 2002. — p.331
5. Dashevskaya G.Ya., Kondrashevsky A.F. Chinese language for business communication. M.Izd-in VKN. 2016. — р .352
6. Alikhankyzy G. Methods of teaching basic knowledge of Chinese language. Almaty, Abay
Kazakh Pedagogical University. 2008. – p.115
7. Ryunin Yu.V. Record in Chinese hieroglyphic writing. Stage 1. Tutorial. M. Publishing of
WCS. 2018.- p.320
8. G.Akankyzy, G. Sabyrdankyzy. Chinese language . Teaching manual..Almaty. Publishing House «Kyzdar University». 2016 – 82p.
9. Kebekbayev M.A. Chinese. Tutorial. Almaty: Publishing House «Kyzdar University». 2016. — 102 p .
10. Tokhmetov A.T. Prospects for the development of the Chinese language in Kazakhstan. Monograph. Almaty 2015.- 106 p.
11. Sabyrdankyzy G. Problems of teaching Chinese language // Materials of the International Scientific and Practical Conference «Conceptual foundations of the formation of language competences of multilingual teaching staff». Almaty October 25, 2017 — Almaty. — 164-165 pp .
12. Tokhmetov A.T. Chinese language in universities of Kazakhstan // Actual issues of teaching Chinese and other Oriental languages in the XXI century: Collection of articles and reports of the participants of the International Scientific Practical Conference. Kazan: Publ. «FAN» AN RT.
2017-p.198-205
13. Tokhmetov A.T., Kebekbaev М.А. Importance of use of Kazakhstani materials in studying Chinese language // Materials of the International Symposium on Turkic World Studies October 11-13, 2018 T.1. Almaty. 2018- pp.165-170.
А.Т. Тохметов, Р.О.Озгамбаева, Р.К.Садыкова
Инновационные приемы и методы изучения графических элементов китайского языка
Казахский Государственный женский педагогический университет
Республика Казахстан, г.Алматы
На сегодняшний день китайский язык является одним из самых изучаемых языков мира. Как показывает практика, существует острая необходимость более глубокого теоретического исследования вопросов, связанных с особенностями обучения китайскому языку, анализа трудностей восприятия китайских иероглифов и путей их преодоления. В этой связи более пристального внимания заслуживает проблема внедрения инновационных методик обучения, а также возникающих при этом вопросов технического и информационного характера. Определённый интерес вызывает изучение опыта китайских коллег из ведущих научных центров и университетов и проведения совместных научных исследований по методике преподавания китайского языка.
Ключевые слова: китайский язык, методика, иероглифы, обмен опытом, университет, преподаватель.
А.Т. Тохметов, Р.О. Озгамбаева, Р.К. Садыкова
Қытай тілі графикалық элементтерін оқытудың инновациялық тәсілдері мен
әдістері
Қазақ мемлекеттік қыздар педагогикалық университеті, Қазақстан Республикасы, Алматы қ.
Түйін: Бүгінгі күнде қытай тілі – әлемдегі үйренілетін тілдердің бірі. Тәжірибе көрсеткендей, қытай тілінің ерекшеліктері, қытай иероглифтерін қабылдауда туындайтын қиындықтар және оларды жеңу жолдарын талдауға байланысты терең теориялық мәселелерді шешу өткір қажеттеліктен туындайды.
Осыған байланысты инновациялық оқыту әдістерін енгізу мәселесі, сондай-ақ техникалық және ақпараттық сипаттағы туындайтын мәселелер барынша өзіне назар аудартады
Қытайдың жетекші ғылыми орталықтары мен университеттеріндегі қытайлық әріптестерінің тәжірибесін зерттеу және қытай тілін оқыту әдістемесі бойынша бірлескен ғылыми зерттеулер жүргізу арнайы қызығушылық тудырады.
Түйін сөздер: қытай тілі, әдістеме, иероглифтер, тәжірбие алмасу, университет, оқытушы.