US grad-level enrollments in Japanese continue long decline

Fewer and fewer people are taking graduate-level Japanese classes in U.S. universities, according to data recently released by the MLA.

Graduate-level enrollments in Japanese classes are at their lowest level since 1983 and have declined to less than half of their peak level, which was reached in 1995.

U.S. graduate-level enrollments in Japanese, 1986-2013, showing a peak of 1406 in 1995, a slight decline to 1356 in 1998, and a steeper decline since then, to just 567 in 2013

Here are a few more years. When looking at the earlier peaks, it’s worth remember that there are a lot more people in graduate school now than there were several decades ago, both in absolute terms and as a percentage of the population. So the recent figures are even more bleak than they might appear at first glance.

U.S. graduate-level enrollments in Japanese, 1960–2013

You might be wondering how Japanese stacks up against another Asian language. Here’s a comparison with graduate enrollments in Chinese (in blue). Again, the situation isn’t looking good for Japanese.

Graduate enrollments in Japanese vs. graduate enrollments in Chinese, 1986–2013

And here’s a look at the number of undergraduate enrollments in Japanese (green) and Chinese (blue) per enrollment in a graduate course in the same respective language.

Number of undergraduate enrollments in Japanese and Chinese per enrollment in a graduate course for the same language

Even so, boosters of Japanese may take heart that there are still more post-secondary enrollments in Japanese than in Mandarin. But more on that in a later post.

(For those of you who are wondering, no, this blog isn’t really back just yet. But I think these numbers are interesting. Also, my MLA-related posts don’t need Hanzi or Pinyin diacritics, which would only get messed up anyway. Thus, I might as well post the information for others to see.)

Zhou Youguang writes about

I’d like to share a note that Zhou Youguang, the father of Pinyin, very generously wrote to me last week.

??Mark Swofford ???????,????????????.???Swofford ?????????! / ?????????? / ?????????? / ??????????? / ??? / 2012-03-02 / ??107?

??Mark Swofford ???????,????????????.???Swofford ?????????!



G?nxiè Mark Swofford xi?nsheng de p?ny?n w?ngzhàn, b? p?ny?n yòngzuò xuéxí Zh?ngwén de g?ngjù. W? zhùhè Swofford xi?nsheng de g?ngzuò huòdé chéngg?ng!

Y?yán sh?rén y?ubié yú qínshòu,
wénzì sh? wénmíng bié yú y?mán,
jiàoyù sh? xi?njìn y?ubié yú luòhòu.

Zh?u Y?ugu?ng
shí nián 107 suì

Zhou Youguang on politics

The New York Times has just published a profile of Zhou Youguang, who is often called “the father of Pinyin” (though he modestly prefers to stress that others worked with him): A Chinese Voice of Dissent That Took Its Time.

This profile focuses not only on Zhou’s role in the creation of Hanyu Pinyin but also on his political views, which he has become increasingly public with.

About Mao, he said in an interview: “I deny he did any good.” About the 1989 Tiananmen Square massacre: “I am sure one day justice will be done.” About popular support for the Communist Party: “The people have no freedom to express themselves, so we cannot know.”

As for fostering creativity in the Communist system, Mr. Zhou had this to say, in a 2010 book of essays: “Inventions are flowers that grow out of the soil of freedom. Innovation and invention don’t grow out of the government’s orders.”

No sooner had the first batch of copies been printed than the book was banned in China.

Although the reporter’s assertion, following the PRC’s official figures, that “China all but stamp[ed] out illiteracy” is well wide of the mark, there is no denying Pinyin’s crucial role in this area. I recommend reading the whole article.

Zhou Youguang

Pinyin sort order

The standard for alphabetically sorting Hanyu Pinyin is given in the ABC dictionary series edited by John DeFrancis and issued by the University of Hawaii Press.

Here’s the basic idea:

The ordering is primarily simply alphabetical. Diacritical marks, punctuation, juncture and capitalization are only taken into account when the strings being compared are otherwise identical. For example, píng’?n sorts before p?ny?n, because pingan sorts before pinyin, because g precedes y alphabetically.

Only when two strings are alphabetically identical is non-alphabetical information taken into account.

The series’ Reader’s Guide presents the specifics of the sort order. Since I don’t have to worry about how much space this takes up on my site, I have reformatted the information slightly to give the examples as numbered lists.

Head entry transcriptions with the same sequence of letters are ordered first strictly by letter sequence regardless of tones, then by initial syllable tone in the sequence 0 1 2 3 4. For entries with the same initial tone, arrangement is by the tone of the second syllable, again in the order 0 1 2 3 4. For example:

  1. sh?shi
  2. sh?sh?
  3. sh?shí
  4. sh?sh?
  5. sh?shì
  6. shísh?
  7. shíshì
  8. sh?sh?
  9. shìsh?

Irrespective of tones, entries with the vowel u precede those with ü.
For example:

  1. l?
  2. l?
  3. l?
  4. l?
  1. n?

Entries without apostrophe precede those with apostrophe. For example:

  1. biànargue
  2. b?’ànthe other shore

Lower-case entries precede upper-case entries. For example:

  1. hòujìnaftereffect
  2. Hòu JìnLater Jin dynasty

For entries with identical spelling, including tones, arrangement is by order of frequency….

For most users, the most important thing to note is that the neutral tone is regarded as 0, not as 5. Thus, the order is not? á ? à a,” but “a ? á ? à.” And, because lowercase comes before uppercase, notA a ? ? Á á ? ? À à” but “a A ? ? á Á ? ? à À.

One can see this in action in the A entries for the ABC English-Chinese, Chinese-English Dictionary. And here are some sample pages from an earlier ABC dictionary.

The ABC series follows the example of the Hanyu Pinyin Cihui (?????? / Hàny? P?ny?n Cíhuì) (example), with only one minor difference, as noted by Tom Bishop:

HPC [Hanyu Pinyin Cihui] gave hyphens and spaces the same priority as apostrophes, so that lìg?ng sorted before l?-g?ng, in spite of the tones. Usage of hyphens and spaces in pinyin is still far from being fully standardized. (The same is true in English orthography.) Consequently, for collation it makes sense to give less weight to hyphens and spaces, and more weight to tones, thus sorting l?-g?ng before lìg?ng. In ABC, hyphens and spaces don’t affect the sort order unless they change the pronunciation in the same way that apostrophe would; for example, 1míng-àn ?? and 2míng’àn ?? are treated as homophones, and they sort after m?ng?n ??.

Remembering Y.R. Chao: 1892-1982

Y.R. Chao

Y.R. Chao
November 3, 1892 – February 25, 1982

Today, the thirtieth anniversary of the death of the brilliant linguist and all-around interesting guy Y.R. Chao (Zhao Yuanren / Zhào Yuánrèn / ??? / ???), I’m remembering him by rereading some of his work. (Chao died twenty years and one day after his good friend Hu Shih.)

Here are some readings here on by or about Y.R. Chao that you may wish to review:

Remembering Hu Shih: 1891-1962

black and white photo of the face of Hu Shih (??)

Hú Shì
17 December 1891 — 24 February 1962

Today, on the fiftieth anniversary of the death of Hu Shih (Hú Shì/??/??), I’d like to say a few things in his memory. This is, after all, someone I regard as a hero in many ways. I even keep a photo of him in my office.

The opening of the preface to a splendid new biography of Hu Shih covers the basics:

Hu Shi (1891–1962), “the Father of the Chinese Renaissance,” towered over China’s intellectual landscape in the first half of the twentieth century. Among other achievements, he is credited with having made everyday speech respectable as a medium of written communication. Groomed as a traditional scholar-bureaucrat in his father’s footsteps, he had already turned into an iconoclastic renegade by the time he left Shanghai at the age of eighteen to study in the United States. In John Dewey, whose approach to philosophy was to treat all doctrines as working hypotheses, Hu felt he found “the proper way to think.” He and his associates who studied with Dewey at Columbia University established the framework of China’s modern educational system. A dedicated humanist, social reformer and promoter of women rights, he was, at different periods of his life, president of Peking University, president of the Academia Sinica, and ambassador to Washington.

To return to the most important point, at least in terms of the focus of this site, it was he, more than anyone else, who helped break the stranglehold of Literary Sinitic (a.k.a. classical Chinese). The vernacular movement he spearheaded is of far greater significance and has had a much greater impact on Chinese culture and people’s lives than so-called character simplification. Yet it receives relatively little attention, perhaps because many do not understand — or do not want to admit — how very different Literary Sinitic is from modern standard Mandarin.

Hu Shih is also the one who, more than anyone else, popularized the use of modern punctuation in Chinese texts, such as through his book Zh?ngguó Zhéxuésh? Dàg?ng and his editions of earlier works. That alone should be enough to earn him the eternal gratitude of all who read texts written in Chinese characters.

There’s so much more to the man than this, though most of it falls outside the bounds of this site. So rather than go into it here I will just encourage people to read more by and about him.

Shortly after Hu Shih’s death his son wrote:

father passed away during a cocktail party in honor of the members of the Academia Sinica after the completion of the members’ meeting. He passed away without any pain, and from every one present at the party, I gathered that he died happy, for the last words he said was, “Let’s have some drinks!”

I lift my glass.

Further reading:

dàd?n ji?shè

xi?ox?n qiúzhèng
N? bùnéng zuò w? de sh?,
zhèngrú w? bùnéng zuò n? de mèng.

—Hú Shì
from “Mèng y? Sh?” (???)

Pinyin font: the Brill

Some of the Pinyin-friendly font families I provide examples of on this blog are fun but not exactly the sort of thing you’d want to use in a book or other serious project. Others, though, are solid examples of the subtle and exacting art of type design. Today’s entry belongs in the latter group.

Brill — a Leiden-based publisher of work in the humanities, social sciences, law, and science — has released “the Brill,” a new font family designed to support the Latin and Greek scripts “to the fullest extent possible.” IPA and the Slavic parts of the Cyrillic range are also covered. This can handle the needs of just about any romanized script, including Hanyu Pinyin.

As someone with Brill explained to me:

Instead of limiting the fonts’ character set to known characters and character-plus-diacritic combinations, we chose a dynamic model in which, using OpenType GPOS features, any base character can carry any diacritic above or below it, and in which diacritics can be stacked as well—not forgetting all the precomposed characters that are already present in the Unicode Standard, of course. Finally, a huge assortment of punctuation marks, editorial marks, and other symbols known to occur in Brill publications were added to the spec.

In total, the Brill contains more than 5,100 characters. And that already immense range can be extended through combining diacritics, as noted above.

Even better, the Brill is free for non-commercial use. You can download it after agreeing to the End User License Agreement license. (See the bottom of that page and then the bottom of the page that follows.)

The Brill is available now in roman and italic styles. Bold and bold italic versions will be released later this year, probably before July.

The Brill is considerably different than Brill Online, which has been available for some time and was aimed at helping users of Brill’s online reference works. Brill Online is based on v. 1.00 of the Gentium family of fonts. The glyph set was extended to support some very rare characters, such as Aegean numbers. “In essence it became a hybrid Latin-Greek-Cyrillic-IPA and ‘pi’ font family.”

Thanks to Lin Ai of for the heads up that this had been released, and to Dominique de Roo and Pim Rietbroek of Brill for patiently helping me with my questions.