Tag: (E) xi 喜

(2006) Chinese (Mandarin) – ‘Joy-like’ emotions


Ye, Zhengdao (2006). Why are there two ‘joy-like’ ‘basic’ emotions in Chinese? Semantic theory and empirical findings. In Paolo Santangelo & Donatella Guida (Eds.), Love, hatred and other passions: Questions and themes on emotions in Chinese civilisation (pp. 59-80). Leiden: Brill.

Among different versions of ‘basic emotions’ based on English, it is uncommon for two emotions from the same cognitive domain of ‘something good happened’ to appear side by side on the same list. The two Chinese emotion terms xi and le, on the other hand, often appear together on lists of basic Chinese emotions. Thus, these ‘twin’ qingganzi have been chosen in the hope of answering a question that few have raised, that is, why are there two basic emotions belonging to this ‘joy-like’ category in Chinese? An in-depth analysis of the meaning of these so-called ‘basic’ emotions (within the Chinese language, and between Chinese and English) not only sheds light on the ‘basic’ Chinese emotional experience, but also has implications for the discussion of whether there are emotions ‘basic’ to people from all cultures, an issue that has been widely debated in studies of emotions.


Research carried out in consultation with or under the supervision of one or more experienced NSM practitioners

(2015) Chinese – Musical concepts


Tien, Adrian (2015). The semantics of Chinese music: Analysing selected Chinese musical concepts. Amsterdam: John Benjamins. DOI: 10.1075/clscc.5

Music is a widely enjoyed human experience. It is, therefore, natural that we have wanted to describe, document, analyse and, somehow, grasp it in language. This book surveys a representative selection of musical concepts in Chinese language, i.e. words that describe, or refer to, aspects of Chinese music. Important as these musical concepts are in the language, they have been in wide circulation since ancient times without being subjected to any serious semantic analysis. The current study is the first known attempt at analysing these Chinese musical concepts linguistically, adopting the Natural Semantic Metalanguage (NSM) approach to formulate semantically and cognitively rigorous explications. Readers will be able to better understand not only these musical concepts but also significant aspects of the Chinese culture that many of these musical concepts represent. This volume contributes to the fields of cognitive linguistics, semantics, music, musicology and Chinese studies, offering readers a fresh account of Chinese ways of thinking, not least Chinese ways of viewing or appreciating music. Ultimately, this study represents trailblazing research on the relationship between language, culture and cognition.


Research carried out by one or more experienced NSM practitioners