“Linguistic diversity is one of the most valuable forms of cultural diversity,” states Koïchiro Matsuura on the occasion of World Poetry Day
http://www.diversite-culturelle.qc.ca/index.php?id=105&L=1&tx_bulletinsirre_pi2%5Barticle%5D=6711
“Linguistic diversity is one of the most valuable forms of cultural diversity. Languages, by their ability to seize the boundless diversity of the world and because they are amenable to translation, can link things that are unique and universal together. Such linkage is nowhere more powerful than in poetry. Every language has its poetry.”
Those are the words of UNESCO Director-General Koïchiro Matsuura in his message on the occasion of World Poetry Day on March 21, 2009.
According to Matsuura, “this day provides an opportunity to call to mind the message, conveyed by the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (2005), that cultural diversity is an evolving process of expression and creation.
“Poetry contributes to creative diversity by questioning anew our use of words and things, our modes of perception and understanding of the world. Through its associations, its metaphors, and its own grammar, poetic language is thus conceivably another facet of the dialogue among cultures.
“Diversity in dialogue, free flow of ideas by word, creativity and innovation—World Poetry Day is thus also an invitation to reflect on the power of language and the full development of each person’s creative abilities.”
Source:
UNESCO website
2009年11月15日 星期日
Photo of La Wiphala in Bolivia
La Wiphala: A Metaphor for Understanding
Language Diversity in Latin America
Chad Dorn
FIGURE 1. Photo of La Wiphala in Bolivia.
http://iise.pitt.edu/publications/ncontents/v9/n3/ise200913.pdf
International Studies in Education 9 (2008)
“High in the Andes Mountains of South America
waves a symbol of brotherhood, community and diversity.
The Wiphala is a seven-by-seven, multi-colored
checkerboard flag composed of the seven colors of a
rainbow each equally represented by seven squares
arranged in diagonal rows (Figure 1). Indigenous communities
and political activists alike brandish its colors
as a utopian vision of how the world should comport
itself and as a call to rise up over the elitist structure
that places a stranglehold on indigenous voices.”
“Inka Waskar Chukiwanka (2003), an indigenous
leader and Bolivian Congressman, explains that the
kurmi, or the refraction of white light into the equal but
different colors of the rainbow, provides the basic elements elements
for the composition of the Wiphala. Its origin is
located in the intersection of the male and female kurmis.
The junction of these two rainbows, or kumisi,
forms the seven-by-seven multi-colored checkerboard
of the Wiphala.
The Incas, and their descendants, consider the various
colors of the Wiphala to be not just an emblem of
who they are as a nation of nations, but also a guide for
action (p. 332). Chukiwanka points out that unlike other
flags the Wiphala is not a symbol of conquest, but instead
provides direction toward a productive life and
community. On the community level, it serves as representation
of the founding values of the ayllu: equality
and reciprocity. On the personal level, the Wiphala
prescribes that an individual, in addition to working and
studying hard, should acquaint himself with the community
and the world around him and pledge to combat
against the elitist structure that is constricting the underlying
principles of brotherhood, community and equality
(p. 333).”
Language Diversity in Latin America
Chad Dorn
FIGURE 1. Photo of La Wiphala in Bolivia.
http://iise.pitt.edu/publications/ncontents/v9/n3/ise200913.pdf
International Studies in Education 9 (2008)
“High in the Andes Mountains of South America
waves a symbol of brotherhood, community and diversity.
The Wiphala is a seven-by-seven, multi-colored
checkerboard flag composed of the seven colors of a
rainbow each equally represented by seven squares
arranged in diagonal rows (Figure 1). Indigenous communities
and political activists alike brandish its colors
as a utopian vision of how the world should comport
itself and as a call to rise up over the elitist structure
that places a stranglehold on indigenous voices.”
“Inka Waskar Chukiwanka (2003), an indigenous
leader and Bolivian Congressman, explains that the
kurmi, or the refraction of white light into the equal but
different colors of the rainbow, provides the basic elements elements
for the composition of the Wiphala. Its origin is
located in the intersection of the male and female kurmis.
The junction of these two rainbows, or kumisi,
forms the seven-by-seven multi-colored checkerboard
of the Wiphala.
The Incas, and their descendants, consider the various
colors of the Wiphala to be not just an emblem of
who they are as a nation of nations, but also a guide for
action (p. 332). Chukiwanka points out that unlike other
flags the Wiphala is not a symbol of conquest, but instead
provides direction toward a productive life and
community. On the community level, it serves as representation
of the founding values of the ayllu: equality
and reciprocity. On the personal level, the Wiphala
prescribes that an individual, in addition to working and
studying hard, should acquaint himself with the community
and the world around him and pledge to combat
against the elitist structure that is constricting the underlying
principles of brotherhood, community and equality
(p. 333).”
2009年11月12日 星期四
貓抓老鼠的笑話
在網路流傳的貓抓老鼠的笑話，很能突顯出雙語的好處，這個笑話如下 ：有一隻貓一直追一隻老鼠，追到老鼠躲到老鼠洞，才罷休。過一會兒，老鼠洞外傳來狗吠叫聲，老鼠心想說貓一定被狗嚇跑了，就放心的跑到洞口外，想不到馬上被貓給逮住，老鼠驚訝的問貓說：「我剛剛明明聽到狗的叫聲，怎麼會是你呢？」貓就回答說：「這就是會兩種語言的好處。」
網址為﹕http://tw.myblog.yahoo.com/jw!B4K9FqCRERmJG6HzSeNIQH3tSQswOw--/article?mid=415
上個禮拜的研討會還聽到一個不同版本的笑話。這個版本換成老鼠學會雙語，以狗叫聲嚇唬貓。
最近常在想如何用metaphor、故事、笑話說明多語言的好處以及必要性。有學生提出衣櫥的比喻，之前Cantoni也提過，在這個blog，我有翻譯部份內容，也有人提出色彩的比喻，陳黎的一首詩也將臺灣比喻為調色盤，Laponce引用許多聖經、文學的比喻也值得參考，不過，他的資料不知道放到那邊了。
網址為﹕http://tw.myblog.yahoo.com/jw!B4K9FqCRERmJG6HzSeNIQH3tSQswOw--/article?mid=415
上個禮拜的研討會還聽到一個不同版本的笑話。這個版本換成老鼠學會雙語，以狗叫聲嚇唬貓。
最近常在想如何用metaphor、故事、笑話說明多語言的好處以及必要性。有學生提出衣櫥的比喻，之前Cantoni也提過，在這個blog，我有翻譯部份內容，也有人提出色彩的比喻，陳黎的一首詩也將臺灣比喻為調色盤，Laponce引用許多聖經、文學的比喻也值得參考，不過，他的資料不知道放到那邊了。
2009年11月8日 星期日
Project Lingua e chu-liau
Ti bang-lou khoaN-tioh chit e to-gi-gian hoan-ek e bang-cham:
http://globalvoicesonline.org/lingua/
"Project Lingua seeks to amplify Global Voices in languages other than English with the help of volunteer translators. It will open lines of communication with non-english speaking bloggers and readers of GV by translating main GV site content into other languages."
http://globalvoicesonline.org/lingua/
"Project Lingua seeks to amplify Global Voices in languages other than English with the help of volunteer translators. It will open lines of communication with non-english speaking bloggers and readers of GV by translating main GV site content into other languages."
今仔日買一本冊: 學習要像加勒比海盜
今仔日佇冊店買一本冊, 叫做"學習要像加勒比海盜"，是翻譯的冊。
這本冊講著袂少學習方法的物件，這學期有咧教思維佮寫作，著共買轉來參考。
作者是自學成功的例,伊袂慣勢學校的教學方式，高中讀無畢業著休學，家己學習。
伊用海賊的比喻來講伊對教育的看法,伊有講著11項自我教育的要素，值著參考。
我感覺台灣的教育干單強調被動式的學習，真欠缺主動學習的精神，
這本冊佇這方面應該會當作真好的參考。
毋知tó這位學者講伊畢業了後所學的物件90%佇學校毋捌學過。
看起來若無繼續學習真緊著綴袂著時代。
這本冊講著袂少學習方法的物件，這學期有咧教思維佮寫作，著共買轉來參考。
作者是自學成功的例,伊袂慣勢學校的教學方式，高中讀無畢業著休學，家己學習。
伊用海賊的比喻來講伊對教育的看法,伊有講著11項自我教育的要素，值著參考。
我感覺台灣的教育干單強調被動式的學習，真欠缺主動學習的精神，
這本冊佇這方面應該會當作真好的參考。
毋知tó這位學者講伊畢業了後所學的物件90%佇學校毋捌學過。
看起來若無繼續學習真緊著綴袂著時代。
研討會講著呂興昌的＜請你做伙來救助＞
我châng 佇研討會咧報告台語行銷的時陣有引用呂興昌教授的詩，＜請你做伙來救助＞:
『人講珍貴 e5 動物 ai3 保護/稀罕e5植物 ai3 照顧/不管是來做人客e5 la7-poe ti7 七股/或是水筆仔落地生根四草湖/鳥仔ai3保護樹仔 ai3 照顧/老師大聲呼，學生不敢激 khou3- khou3/人 kap 自然做伙來喘氣/台灣 e5 未來 chiah 會有前途/可惜台灣目睭 hou7 中國螺仔肉糊/台灣嘴舌 hou7 中國病毒 tou3/強 beh 絕種 e5 母語/父母 tiN3-恬恬，/囡仔笑嘻嘻講伊【還是活得很快活】/老師 chhin3-chai2 教，學生加減度/英語 sia3-sia3 叫，中國話極 chhio-tio5/台灣話大嘴開開土土土/氣死阿公阿媽變無步 /樹仔 ai3 照顧/鳥仔 ai3 保護/強 beh 絕種 e5 母語/請你做伙來救助/ 』
內底有寡話khah敏感，尾仔著有人講宣傳的時若講chia的話恐驚會有反效果。這個評論實在趣味，對我來講，行銷的目的是欲予人有機會通好重新思考家庭語言的態度佮習慣，講好聽話，是khah bē得失人，毋過著失去批判，反省的機會。我聽的時陣其實是咧想Skutnabb-Kangas閣較直接閣歹聽，毋過成有道理的話:"學校常在是母語的屠殺場，佇hia 咧教冊的，嘛定定是母語殺手。" 我想行銷的方法猶閣無夠，教育內底愛有閣較濟的批判語言意識教育，才有法度共一寡錯誤的觀念去除(un-learn)，重新學習(re-learn)符合正義/公平/人性的語言意識。
『人講珍貴 e5 動物 ai3 保護/稀罕e5植物 ai3 照顧/不管是來做人客e5 la7-poe ti7 七股/或是水筆仔落地生根四草湖/鳥仔ai3保護樹仔 ai3 照顧/老師大聲呼，學生不敢激 khou3- khou3/人 kap 自然做伙來喘氣/台灣 e5 未來 chiah 會有前途/可惜台灣目睭 hou7 中國螺仔肉糊/台灣嘴舌 hou7 中國病毒 tou3/強 beh 絕種 e5 母語/父母 tiN3-恬恬，/囡仔笑嘻嘻講伊【還是活得很快活】/老師 chhin3-chai2 教，學生加減度/英語 sia3-sia3 叫，中國話極 chhio-tio5/台灣話大嘴開開土土土/氣死阿公阿媽變無步 /樹仔 ai3 照顧/鳥仔 ai3 保護/強 beh 絕種 e5 母語/請你做伙來救助/ 』
內底有寡話khah敏感，尾仔著有人講宣傳的時若講chia的話恐驚會有反效果。這個評論實在趣味，對我來講，行銷的目的是欲予人有機會通好重新思考家庭語言的態度佮習慣，講好聽話，是khah bē得失人，毋過著失去批判，反省的機會。我聽的時陣其實是咧想Skutnabb-Kangas閣較直接閣歹聽，毋過成有道理的話:"學校常在是母語的屠殺場，佇hia 咧教冊的，嘛定定是母語殺手。" 我想行銷的方法猶閣無夠，教育內底愛有閣較濟的批判語言意識教育，才有法度共一寡錯誤的觀念去除(un-learn)，重新學習(re-learn)符合正義/公平/人性的語言意識。
2009年11月7日 星期六
Lán lóng sī Tâi-gí mā lóng sī hiong-thó͘ gí-giân
í-hā siaⁿ-tiāu ū ê cháu bē-chhut-lâi, ài koh siū-kái.
Kin-á-ji̍t hē-lih pān gián-thó-hoē Ún-giân hiaⁿ kah goá kiong-tông hoat-piáu chi̍t phiⁿ bûn-chiuⁿ, lāi-té ū iōng tio̍h Taî-gí chi̍t-ê sû, in-khì lâng ê chit-gî. Chit-ê miâ-sû ê cheng-lūn í-keng chin kú a.
Tuì hó ê hong-bīn lâi siūⁿ ta̍k cho̍k jīn-tông Tâi-oân lóng beh chò Taî-oân gí-giân, beh sêng-jīn in sī Tâi-oân-lâng, che sī chi̍t-kiāⁿ hó tāi-chì. M̄-koh ū ê lâng chin ài sù goá ê gí-giân goá bô kah-ì ê miā, goá nā bô hoaⁿ-hì tio̍h beh kā goá tì-bô-á kóng goá sī soa-bûn-chú-gī-chiá, che goá si̍t-chāi mā chiâⁿ bô-hoat-tō͘ chiap-siū.
M̄-koh goá kin-á-ji̍t bô kah lâng kóng chia ê, goá kè-siok kóng pún-thó͘-gí-giân kiōng-tông ê só͘-chāi, chit-kú-oē: LÁN LÓNG SĪ BÔ TĒ-UĪ Ê THÓ͘-OĒ (VERNACULAR), lán lâng sui-jiân kài-chē, Hoâ-gí-chok-kûn í-goā ê lâng beh kà 85%, m̄-koh lán lóng bô ti̍t-tio̍h hoat-lu̍t ê tē-uī.
Unesco (1951: 689-690) kā hiong-thó͘-gí-giân tēng-gí chò: "tī siā-hoē-siōng, chéng-tī-siōng siū kóng bô-kâng-khoán gí-gián ê thoân-thé chái-chè (宰制) ê thoân-thé ê tē-it-gí-giân." Goá an-ne kóng ê goân-in sī beh thê-chhéⁿ ta̍k-ke Tâi-oân ê pún-thó͘-gí-giân, put-koán tō chi̍t-chok, lóng iáu bô ti̍t-tio̍h kàu-gia̍h ê gí-giân khoân-lī kah tē-uī. Chit-khoán chè-tō͘-sèng ê gî-tē khióng-kiâⁿ pí chok-kûn gí-giân ê miâ-chheng koh-khah tiōng-iàu.
Goá siūⁿ nā sī kam-kak pat-ê gí-giân kiò Tâi-gí sī bô kong-pêⁿ, èng-kai koáⁿ-kín cheng-chhú koaⁿ-hong ê sêng-jīm, tio̍h-sǹg ū phah-sǹg beh kā Tâi-gí kài-chò pāu-koah só͘-ū ê Tâi-oân gí-giân mā sī ài tī hoat-lu̍t ê chân-chhù kái-koat.
Put-koh chin khó-sioh, thóng-tī-chiá iōng hun-khui thóng-tī ê hong-sek, hō͘ chia ê chok-kûn bē-ha̍h, kiat-kò ta̍k-ke iáu-boē khì kā thóng-tī-chiá cheng-chhú tē-uī chìn-chêng, tio̍h oan bē-soah a.
Goá ū-tang-sî-á chin hoâi-gî hia ê tuì Taí-gí chi̍t-ê sû put-boán ê lâng kam chin-chiáⁿ ū phah-sǹg beh cheng-chhú gí-giân ê tē-uī, in-uī lán nā kā mn̄g khoàⁿ in tuì pún-thó͘-gí-giân chò koaⁿ-hong gí-giân ê thāi-tō͘ ê sî, in tiaⁿ-tiaⁿ kóng chin chē lí-iû lâi hoán-tuì. Chia ê lâng sit-chāi bô su-iáu kā in chhèⁿ, in khióng-kiâⁿ kan-ta tuì chit-ê sû bē-sóng niā, tuì ka-tī ê gí-giân ê tē-uī bô-iáⁿ iāu-ì.
Kin-á-ji̍t hē-lih pān gián-thó-hoē Ún-giân hiaⁿ kah goá kiong-tông hoat-piáu chi̍t phiⁿ bûn-chiuⁿ, lāi-té ū iōng tio̍h Taî-gí chi̍t-ê sû, in-khì lâng ê chit-gî. Chit-ê miâ-sû ê cheng-lūn í-keng chin kú a.
Tuì hó ê hong-bīn lâi siūⁿ ta̍k cho̍k jīn-tông Tâi-oân lóng beh chò Taî-oân gí-giân, beh sêng-jīn in sī Tâi-oân-lâng, che sī chi̍t-kiāⁿ hó tāi-chì. M̄-koh ū ê lâng chin ài sù goá ê gí-giân goá bô kah-ì ê miā, goá nā bô hoaⁿ-hì tio̍h beh kā goá tì-bô-á kóng goá sī soa-bûn-chú-gī-chiá, che goá si̍t-chāi mā chiâⁿ bô-hoat-tō͘ chiap-siū.
M̄-koh goá kin-á-ji̍t bô kah lâng kóng chia ê, goá kè-siok kóng pún-thó͘-gí-giân kiōng-tông ê só͘-chāi, chit-kú-oē: LÁN LÓNG SĪ BÔ TĒ-UĪ Ê THÓ͘-OĒ (VERNACULAR), lán lâng sui-jiân kài-chē, Hoâ-gí-chok-kûn í-goā ê lâng beh kà 85%, m̄-koh lán lóng bô ti̍t-tio̍h hoat-lu̍t ê tē-uī.
Unesco (1951: 689-690) kā hiong-thó͘-gí-giân tēng-gí chò: "tī siā-hoē-siōng, chéng-tī-siōng siū kóng bô-kâng-khoán gí-gián ê thoân-thé chái-chè (宰制) ê thoân-thé ê tē-it-gí-giân." Goá an-ne kóng ê goân-in sī beh thê-chhéⁿ ta̍k-ke Tâi-oân ê pún-thó͘-gí-giân, put-koán tō chi̍t-chok, lóng iáu bô ti̍t-tio̍h kàu-gia̍h ê gí-giân khoân-lī kah tē-uī. Chit-khoán chè-tō͘-sèng ê gî-tē khióng-kiâⁿ pí chok-kûn gí-giân ê miâ-chheng koh-khah tiōng-iàu.
Goá siūⁿ nā sī kam-kak pat-ê gí-giân kiò Tâi-gí sī bô kong-pêⁿ, èng-kai koáⁿ-kín cheng-chhú koaⁿ-hong ê sêng-jīm, tio̍h-sǹg ū phah-sǹg beh kā Tâi-gí kài-chò pāu-koah só͘-ū ê Tâi-oân gí-giân mā sī ài tī hoat-lu̍t ê chân-chhù kái-koat.
Put-koh chin khó-sioh, thóng-tī-chiá iōng hun-khui thóng-tī ê hong-sek, hō͘ chia ê chok-kûn bē-ha̍h, kiat-kò ta̍k-ke iáu-boē khì kā thóng-tī-chiá cheng-chhú tē-uī chìn-chêng, tio̍h oan bē-soah a.
Goá ū-tang-sî-á chin hoâi-gî hia ê tuì Taí-gí chi̍t-ê sû put-boán ê lâng kam chin-chiáⁿ ū phah-sǹg beh cheng-chhú gí-giân ê tē-uī, in-uī lán nā kā mn̄g khoàⁿ in tuì pún-thó͘-gí-giân chò koaⁿ-hong gí-giân ê thāi-tō͘ ê sî, in tiaⁿ-tiaⁿ kóng chin chē lí-iû lâi hoán-tuì. Chia ê lâng sit-chāi bô su-iáu kā in chhèⁿ, in khióng-kiâⁿ kan-ta tuì chit-ê sû bē-sóng niā, tuì ka-tī ê gí-giân ê tē-uī bô-iáⁿ iāu-ì.
訂閱：
文章 (Atom)