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												  Fungsi Ateji Dalam Lirik Lagu Pada Album Marginal #4 the Best 「Star Cluster 2」 Produksi RejetPARAMASASTRA Vol. 6 No. 1 - Maret 2019 p-ISSN 2355-4126 e-ISSN 2527-8754 http://journal.unesa.ac.id/index.php/paramasastra FUNGSI ATEJI DALAM LIRIK LAGU PADA ALBUM MARGINAL #4 THE BEST 「STAR CLUSTER 2」 PRODUKSI REJET Meisha Putri M.R., Agus Budi Cahyono Universitas Brawijaya, [email protected] Universitas Brawijaya, [email protected] ABSTRACT This article aimed to describe why furigana in Japanese songs often found different furigana actually with kanji below it. Data uses the album MARGINAL # 4 THE BEST 「STAR CLUSTER 2」 REJET Production. This study uses qualitative descriptive to examine the type of ateji based on Lewis's theory (2010) and its function based on the theory of Jakobson (1960). Based on analysis, writer find more contrastive ateji than denotive ateji. Fatigue function is found more than other functions. The metalingual function is found on all data. Keywords: Ateji, Furigana, semantic PENDAHULUAN Huruf bahasa Jepang dibagi menjadi 4 yang digunakan sehari-hari. Adapun huruf tersebut adalah Kanji, Hiragana, Katakana dan Romaji. Pada penulisan huruf Kanji kadang diikuti dengan furigana yang merupakan bantuan cara baca serta memaknai kanji itu sendiri karena huruf kanji kadang mempunyai cara baca yang berbeda. Selain pembubuhan dengan furigana ada juga dengan ateji. Furigana itu murni sebagai cara baca dan makna aslinya, maka ateji adalah bantuan cara baca yang dilekatkan untuk menambahkan lapisan ide maupun makna di dalam kanji itu sendiri. Ateji merupakan penulisan bahasa Jepang yang tidak mengikuti cara baca jion (cara baca kanji China) dan jikun (cara baca kanji Jepang) ataupun jigi (makna asli) bahasa Jepang tersebut (Shirose, 2012: 103).
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												  Uhm Phd 9506222 R.PdfINFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UM! films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent UJWD the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adverselyaffect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-band comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms tnternauonat A Bell & Howell tntorrnatron Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800:521·0600 Order Number 9506222 The linguistic and psycholinguistic nature of kanji: Do kanji represent and trigger only meanings? Matsunaga, Sachiko, Ph.D. University of Hawaii, 1994 Copyright @1994 by Matsunaga, Sachiko.
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												  Man'yogana.Pdf (574.0Kb)Bulletin of the School of Oriental and African Studies http://journals.cambridge.org/BSO Additional services for Bulletin of the School of Oriental and African Studies: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The origin of man'yogana John R. BENTLEY Bulletin of the School of Oriental and African Studies / Volume 64 / Issue 01 / February 2001, pp 59  73 DOI: 10.1017/S0041977X01000040, Published online: 18 April 2001 Link to this article: http://journals.cambridge.org/abstract_S0041977X01000040 How to cite this article: John R. BENTLEY (2001). The origin of man'yogana. Bulletin of the School of Oriental and African Studies, 64, pp 5973 doi:10.1017/S0041977X01000040 Request Permissions : Click here Downloaded from http://journals.cambridge.org/BSO, IP address: 131.156.159.213 on 05 Mar 2013 The origin of man'yo:gana1 . Northern Illinois University 1. Introduction2 The origin of man'yo:gana, the phonetic writing system used by the Japanese who originally had no script, is shrouded in mystery and myth. There is even a tradition that prior to the importation of Chinese script, the Japanese had a native script of their own, known as jindai moji ( , age of the gods script). Christopher Seeley (1991: 3) suggests that by the late thirteenth century, Shoku nihongi, a compilation of various earlier commentaries on Nihon shoki (Japan's first official historical record, 720 ..), circulated the idea that Yamato3 had written script from the age of the gods, a mythical period when the deity Susanoo was believed by the Japanese court to have composed Japan's first poem, and the Sun goddess declared her son would rule the land below.
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												  The Interlinear Poetic Gloss of JapaneseRubi -The interlinear poetic gloss of Japanese Joint Faculties of Humanities and Theology at SOL Lund Centre for Languages and Literature Div of Chinese Studies and Japanese Studies Bachelor thesis: Spring 2016 Edvin Melander Supervisor: Lars Larm © Copyright Edvin Melander The Faculties of Humanities and Theology Lund University Box 201 SE-221 00 Lund Sweden Phone: +46 (0)46 222 32 10 Humanistiska och teologiska fakulteterna vid SOL Lund Lund Universitet Box 201 SE-221 00 Lund Phone: +46 (0)46 222 32 10 Abstract The Japanese language has a complex system containing four different scripts. Through the combined usage of these scripts into something sometimes referred to as interlinear glossing, it is possible for the writer to express a wide range of poetic styles in a way that is quite unique to the Japanese language. Ranging from metonymical relations between words and sentences, to synecdoche, word play and visual rhymes. This thesis reviews some of the more recent research that has been conducted surrounding the combining of these different scripts to form poetical nuances and functions in written text, to try and find out just what functions and nuances these provide for written text and dialogue. The usage of five distinct but often overlapping categories of interlinear gloss will also be examined. This is done through the use of a questionnaire, where native Japanese speakers have been asked about these five different styles of usage separately in order to gain more sociolinguistic data regarding what nuances, implications, societal implications, functions etc, that these provide. Keywords: Ateji, Furigana, Interlinear gloss, Playful gloss, Rubi Foreword First, I would like to thank my teacher and thesis supervisor Lars Larm for his enthusiastic and tireless guidance, for the many hours spent after class discussing all kinds of matters relating to both language and writing, and especially for his many encouraging words along the way.
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												  Assessment of Options for Handling Full Unicode Character Encodings in MARC21 a Study for the Library of Congress1 Assessment of Options for Handling Full Unicode Character Encodings in MARC21 A Study for the Library of Congress Part 1: New Scripts Jack Cain Senior Consultant Trylus Computing, Toronto 1 Purpose This assessment intends to study the issues and make recommendations on the possible expansion of the character set repertoire for bibliographic records in MARC21 format. 1.1 “Encoding Scheme” vs. “Repertoire” An encoding scheme contains codes by which characters are represented in computer memory. These codes are organized according to a certain methodology called an encoding scheme. The list of all characters so encoded is referred to as the “repertoire” of characters in the given encoding schemes. For example, ASCII is one encoding scheme, perhaps the one best known to the average non-technical person in North America. “A”, “B”, & “C” are three characters in the repertoire of this encoding scheme. These three characters are assigned encodings 41, 42 & 43 in ASCII (expressed here in hexadecimal). 1.2 MARC8 "MARC8" is the term commonly used to refer both to the encoding scheme and its repertoire as used in MARC records up to 1998. The ‘8’ refers to the fact that, unlike Unicode which is a multi-byte per character code set, the MARC8 encoding scheme is principally made up of multiple one byte tables in which each character is encoded using a single 8 bit byte. (It also includes the EACC set which actually uses fixed length 3 bytes per character.) (For details on MARC8 and its specifications see: http://www.loc.gov/marc/.) MARC8 was introduced around 1968 and was initially limited to essentially Latin script only.
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												  Source-Based Translation and Foreignization: a Japanese CaseSource-Based Translation and Foreignization Source-Based Translation and Foreignization: A Japanese Case Yukari Fukuchi Meldrum Modern Languages and Cultural Studies, University of Alberta Introduction Foreignization, as currently understood in Translation Studies, is a concept that is charged with “more emphasis on the ideological pressure against the target-language culture than on the faithfulness to the original text” (Tamaki, 2005: 239). In other words, it is a conscious operation of bringing a foreign flavor into translations in order to counteract the effects of domestication, claimed by Venuti (1995) to be the cause of invisibility of translation and translators. Tamaki, in her 2005 paper, also cautions that the concept of foreignization should not be confused with a literal method of translation. Literal translation does not involve ideological intentions and is a mere translation method. In this paper, I will attempt to provide a supporting view that source-based translation, often seen in Japanese translation, needs to be understood outside of foreignization in the above sense. Specifically, I will illustrate that Japanese readers, in premodern times, had to gain specific knowledge and adapt to what was required in order to read and interpret texts in a satisfactory manner. This could have been a factor for the source-orientedness of Japanese translations still observed in a certain form today. By examining this background of Japanese text culture, the more source-based translation is shown to be merely a translation carried out by a literal method without any political or ideological intentions. Therefore, the concept of foreignization does not have a place in Japanese translation.
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												  The Japanese Writing Systems, Script Reforms and the Eradication of the Kanji Writing System: Native Speakers’ Views Lovisa ÖstermanThe Japanese writing systems, script reforms and the eradication of the Kanji writing system: native speakers’ views Lovisa Österman Lund University, Centre for Languages and Literature Bachelor’s Thesis Japanese B.A. Course (JAPK11 Spring term 2018) Supervisor: Shinichiro Ishihara Abstract This study aims to deduce what Japanese native speakers think of the Japanese writing systems, and in particular what native speakers’ opinions are concerning Kanji, the logographic writing system which consists of Chinese characters. The Japanese written language has something that most languages do not; namely a total of   three writing systems. First, there is the Kana writing system, which consists of the two syllabaries: Hiragana and Katakana. The two syllabaries essentially figure the same way, but are used for different purposes. Secondly, there is the Rōmaji writing system, which is Japanese written using latin letters. And finally, there is the Kanji writing system. Learning this is often at first an exhausting task, because not only must one learn the two phonematic writing systems (Hiragana and Katakana), but to be able to properly read and write in Japanese, one should also learn how to read and write a great amount of logographic signs; namely the Kanji. For example, to be able to read and understand books or newspaper without using any aiding tools such as dictionaries, one would need to have learned the 2136 Jōyō Kanji (regular-use Chinese characters). With the twentieth century’s progress in technology, comparing with twenty years ago, in this day and age one could probably theoretically get by alright without knowing how to write Kanji by hand, seeing as we are writing less and less by hand and more by technological devices.
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												  Writing As Aesthetic in Modern and Contemporary Japanese-Language LiteratureAt the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2021 Reading Committee: Edward Mack, Chair Davinder Bhowmik Zev Handel Jeffrey Todd Knight Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2021 Christopher J Lowy University of Washington Abstract At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy Chair of the Supervisory Committee: Edward Mack Department of Asian Languages and Literature This dissertation examines the dynamic relationship between written language and literary fiction in modern and contemporary Japanese-language literature. I analyze how script and narration come together to function as a site of expression, and how they connect to questions of visuality, textuality, and materiality. Informed by work from the field of textual humanities, my project brings together new philological approaches to visual aspects of text in literature written in the Japanese script. Because research in English on the visual textuality of Japanese-language literature is scant, my work serves as a fundamental first-step in creating a new area of critical interest by establishing key terms and a general theoretical framework from which to approach the topic. Chapter One establishes the scope of my project and the vocabulary necessary for an analysis of script relative to narrative content; Chapter Two looks at one author’s relationship with written language; and Chapters Three and Four apply the concepts explored in Chapter One to a variety of modern and contemporary literary texts where script plays a central role.
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												  History and Narrative in Japanese Chiyuki KumakuraDocument generated on 09/27/2021 10:48 a.m. Surfaces History and Narrative in Japanese Chiyuki Kumakura CULTURE AND INSTITUTIONS Article abstract Volume 5, 1995 This essay analyzes what Oe Kenzaburo (1994 Nobel laureate in literature) calls two opposing poles of ambiguity. The modernization of the Japanese URI: https://id.erudit.org/iderudit/1065000ar language has been oriented toward learning from and imitating DOI: https://doi.org/10.7202/1065000ar Indo-European languages (or Chinese), which permits one to make objective statements. Yet native Japanese (yamato kotoba) is unequivocally oriented by See table of contents the speaker's standpoint which is naturally subjective, reflecting only his/her perceptions and judgments. To Oe, this ambiguous orientation of the Japanese language has forced its culture into obscurity and isolation. In my analysis, the "interpersonal" nature of Japanese (derived from the speaker orientation) and Publisher(s) the interpersonal culture of Japan (derived from the language) have created a Les Presses de l’Université de Montréal culture that appears ambiguous and may often be considered inscrutable from a European perspective. However, interpersonality as a feature of Japanese culture and in Japanese discourse is a new concept that deserves further ISSN examination. 1188-2492 (print) 1200-5320 (digital) Explore this journal Cite this article Kumakura, C. (1995). History and Narrative in Japanese. Surfaces, 5. https://doi.org/10.7202/1065000ar Copyright © Chiyuki Kumakura, 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
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												  Japanese Language and CultureNIHONGO History of Japanese Language Many linguistic experts have found that there is no specific evidence linking Japanese to a single family of language. The most prominent theory says that it stems from the Altaic family(Korean, Mongolian, Tungusic, Turkish) The transition from old Japanese to Modern Japanese took place from about the 12th century to the 16th century. Sentence Structure Japanese: Tanaka-san ga piza o tabemasu. (Subject) (Object) (Verb) 田中さんが ピザを 食べます。 English: Mr. Tanaka eats a pizza. (Subject) (Verb) (Object) Where is the subject? I go to Tokyo. Japanese translation: (私が)東京に行きます。 [Watashi ga] Toukyou ni ikimasu. (Lit. Going to Tokyo.) “I” or “We” are often omitted. Hiragana, Katakana & Kanji Three types of characters are used in Japanese: Hiragana, Katakana & Kanji(Chinese characters). Mr. Tanaka goes to Canada: 田中さんはカナダに行きます [kanji][hiragana][kataka na][hiragana][kanji] [hiragana]b Two Speech Styles Distal-Style: Semi-Polite style, can be used to anyone other than family members/close friends. Direct-Style: Casual & blunt, can be used among family members and friends. In-Group/Out-Group Semi-Polite Style for Out-Group/Strangers I/We Direct-Style for Me/Us Polite Expressions Distal-Style: 1. Regular Speech 2. Ikimasu(he/I go) Honorific Speech 3. Irasshaimasu(he goes) Humble Speech Mairimasu(I/We go) Siblings: Age Matters Older Brother & Older Sister Ani & Ane 兄 と 姉 Younger Brother & Younger Sister Otooto & Imooto 弟 と 妹 My Family/Your Family My father: chichi父 Your father: otoosan My mother: haha母 お父さん My older brother: ani Your mother: okaasan お母さん Your older brother: oniisanお兄 兄 さん My older sister: ane姉 Your older sister: oneesan My younger brother: お姉さ otooto弟 ん Your younger brother: My younger sister: otootosan弟さん imooto妹 Your younger sister: imootosan 妹さん Boy Speech & Girl Speech blunt polite I/Me = watashi, boku, ore, I/Me = watashi, washi watakushi I am going = Boku iku.僕行 I am going = Watashi iku く。 wa.
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												  Halfwidth and Fullwidth Forms Range: FF00–FFEFHalfwidth and Fullwidth Forms Range: FF00–FFEF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation.
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												  Unconscious Gairaigo Bias in EFL: a Case Study of Japanese Teachers of EnglishUnconscious Gairaigo Bias in EFL: A Case Study of Japanese Teachers of English Mark Spring Keywords: gairaigo, loanwords, cross-linguistic transfer, bias, traditional teaching 1. Introduction 'Japanese and English speakers find each other's languages hard to learn' (Swan and Smith, 2001: 296). This is probably due in no small part to the many linguistic differences between the seemingly unrelated languages. Huge levels of word borrowing, though, have led to an abundance of loanwords in the current Japanese lexicon, many originating from English. These are known locally in Japan as gairaigo. Indeed, around half of the three thousand most common words in English and around a quarter of those on The Academic Word List (see Coxhead, 2000) correspond in some form to gairaigo (Daulton: 2008: 86). Thus, to some degree we can say that the two languages are 'lexically wed' (ibid: 40). With increasing recognition among researchers of the positive role that the first language plays in the learning of a second, and a growing number of empirical studies indicating gairaigo knowledge can facilitate English acquisition, there have been calls to exploit these loanwords for the benefit of Japanese learners of English. But despite research supporting a role for them in learning English, it is said that 'many or most Japanese teachers of English avoid using gairaigo in the classroom' (Daulton: 2011: 8) due to a 'gairaigo bias' (ibid.). This may stem from unfavourable social attitudes towards loanwords themselves in the Japanese language, and pedagogical concerns over their negative influences on learning. Should this be true, it would represent a position incongruous with the idea of exploiting cross-linguistic lexical similarities.