A Comparative Study Between Mobile Apps and Paper Worksheets
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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. -
Handy Katakana Workbook.Pdf
First Edition HANDY KATAKANA WORKBOOK An Introduction to Japanese Writing: KANA THIS IS A SUPPLEMENT FOR BEGINNING LEVEL JAPANESE LANGUAGE INSTRUCTION. \ FrF!' '---~---- , - Y. M. Shimazu, Ed.D. -----~---- TABLE OF CONTENTS Page Introduction vi ACKNOWLEDGEMENlS vii STUDYSHEET#l 1 A,I,U,E, 0, KA,I<I, KU,KE, KO, GA,GI,GU,GE,GO, N WORKSHEET #1 2 PRACTICE: A, I,U, E, 0, KA,KI, KU,KE, KO, GA,GI,GU, GE,GO, N WORKSHEET #2 3 MORE PRACTICE: A, I, U, E,0, KA,KI,KU, KE, KO, GA,GI,GU,GE,GO, N WORKSHEET #~3 4 ADDmONAL PRACTICE: A,I,U, E,0, KA,KI, KU,KE, KO, GA,GI,GU,GE,GO, N STUDYSHEET #2 5 SA,SHI,SU,SE, SO, ZA,JI,ZU,ZE,ZO, TA, CHI, TSU, TE,TO, DA, DE,DO WORI<SHEEI' #4 6 PRACTICE: SA,SHI,SU,SE, SO, ZA,II, ZU,ZE,ZO, TA, CHI, 'lSU,TE,TO, OA, DE,DO WORI<SHEEI' #5 7 MORE PRACTICE: SA,SHI,SU,SE,SO, ZA,II, ZU,ZE, W, TA, CHI, TSU, TE,TO, DA, DE,DO WORKSHEET #6 8 ADDmONAL PRACI'ICE: SA,SHI,SU,SE, SO, ZA,JI, ZU,ZE,ZO, TA, CHI,TSU,TE,TO, DA, DE,DO STUDYSHEET #3 9 NA,NI, NU,NE,NO, HA, HI,FU,HE, HO, BA, BI,BU,BE,BO, PA, PI,PU,PE,PO WORKSHEET #7 10 PRACTICE: NA,NI, NU, NE,NO, HA, HI,FU,HE,HO, BA,BI, BU,BE, BO, PA, PI,PU,PE,PO WORKSHEET #8 11 MORE PRACTICE: NA,NI, NU,NE,NO, HA,HI, FU,HE, HO, BA,BI,BU,BE, BO, PA,PI,PU,PE,PO WORKSHEET #9 12 ADDmONAL PRACTICE: NA,NI, NU, NE,NO, HA, HI, FU,HE, HO, BA,BI,3U, BE, BO, PA, PI,PU,PE,PO STUDYSHEET #4 13 MA, MI,MU, ME, MO, YA, W, YO WORKSHEET#10 14 PRACTICE: MA,MI, MU,ME, MO, YA, W, YO WORKSHEET #11 15 MORE PRACTICE: MA, MI,MU,ME,MO, YA, W, YO WORKSHEET #12 16 ADDmONAL PRACTICE: MA,MI,MU, ME, MO, YA, W, YO STUDYSHEET #5 17 -
Na Kana Magiti Kei Na Lotu
1 NA KANA MAGITI KEI NA LOTU (Vola Tabu : Maciu 22:1-10; Luke 14:12-24) Vola ko Rev. Dr. Ilaitia S. Tuwere. Sa inaki ni vunau oqo me taroga ka sauma talega na taro : A cava na Lotu? Ni da tekivu edaidai ena noda solevu vakalotu, sa na yaga meda taroga ka tovolea talega me sauma na taro oqori. Ia, ena levu na kena isau eda na solia, me vaka na: gumatuataki ni masu kei na vulici ni Vola Tabu, bula vakayalo, muria na ivakarau se lawa ni lotu ka vuqa tale. Na veika oqori era ka dina ka tu kina eso na isau ni taro : A Cava na Lotu. Na i Vola Tabu e sega ni tuvalaka vakavosa vei keda na ibalebale ni lotu. E vakavuqa me boroya vei keda na iyaloyalo me vakadewataka kina na veika eso e vinakata me tukuna. E sega talega ni solia e duabulu ga na iyaloyalo me baleta na lotu. E vuqa sara e solia vei keda. Oqori me vaka na Qele ni Sipi kei na i Vakatawa Vinaka; na Vuni Vaini kei na Tabana; na i Vakavuvuli kei iratou na nona Gonevuli se Tisaipeli, na Masima se Rarama kei Vuravura, na Ulu kei na Vo ni Yago taucoko, ka vuqa tale. Ena mataka edaidai, meda raica vata yani na iyaloyalo ni kana magiti. E rua na kena ivakamacala eda rogoca, mai na Kosipeli i Maciu kei na nei Luke. Na kana magiti se na solevu edua na ivakarau vakaitaukei. Eda soqoni vata kina vakaveiwekani ena noda veikidavaki kei na marau, kena veitalanoa, kena sere kei na meke, kena salusalu kei na kumuni iyau. -
Writing As Aesthetic in Modern and Contemporary Japanese-Language Literature
At 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. -
Frank's Do-It-Yourself Kana Cards V
Frank's do-it-yourself kana cards v. 1.0, 2000-08-07 Frank Stajano University of Cambridge and AT&T Laboratories Cambridge http://www.cl.cam.ac.uk/~fms27/ and http://www.uk.research.att.com/~fms/ This set of flash cards is meant to help you familiar cards and insist on the difficult part of き and さ with a separate stroke, become fluent in the use of the Japanese ones. unlike what happens in the fonts used in hiragana and katakana syllabaries. I made this document. I have followed the stroke it because I needed one myself and could The complete set consists of 10 double- counts of Henshall-Takagaki, even when not find it in the local bookshops (kanji sided sheets (20 printable pages) of 50 they seem weird for the shape of the char- cards were available, and I bought those; cards each, but you may choose to print acter as drawn on the card. but kana cards weren't); if it helps you too, smaller subsets as detailed below. Actu- so much the better. ally there are some blanks, so the total The easiest way to turn this document into number of cards is only 428 instead of 500. a set of cards is simply to print it (double The romanisation system chosen for these It would have been possible to fit them on sided of course!) and then cut each page cards is the Hepburn, which is the most 9 sheets instead of 10, but only by com- into cards with a ruler and a sharp blade. -
JFP Reference Manual 5 : Standards, Environments, and Macros
JFP Reference Manual 5 : Standards, Environments, and Macros Sun Microsystems, Inc. 4150 Network Circle Santa Clara, CA 95054 U.S.A. Part No: 817–0648–10 December 2002 Copyright 2002 Sun Microsystems, Inc. 4150 Network Circle, Santa Clara, CA 95054 U.S.A. All rights reserved. This product or document is protected by copyright and distributed under licenses restricting its use, copying, distribution, and decompilation. No part of this product or document may be reproduced in any form by any means without prior written authorization of Sun and its licensors, if any. Third-party software, including font technology, is copyrighted and licensed from Sun suppliers. Parts of the product may be derived from Berkeley BSD systems, licensed from the University of California. UNIX is a registered trademark in the U.S. and other countries, exclusively licensed through X/Open Company, Ltd. Sun, Sun Microsystems, the Sun logo, docs.sun.com, AnswerBook, AnswerBook2, and Solaris are trademarks, registered trademarks, or service marks of Sun Microsystems, Inc. in the U.S. and other countries. All SPARC trademarks are used under license and are trademarks or registered trademarks of SPARC International, Inc. in the U.S. and other countries. Products bearing SPARC trademarks are based upon an architecture developed by Sun Microsystems, Inc. The OPEN LOOK and Sun™ Graphical User Interface was developed by Sun Microsystems, Inc. for its users and licensees. Sun acknowledges the pioneering efforts of Xerox in researching and developing the concept of visual or graphical user interfaces for the computer industry. Sun holds a non-exclusive license from Xerox to the Xerox Graphical User Interface, which license also covers Sun’s licensees who implement OPEN LOOK GUIs and otherwise comply with Sun’s written license agreements. -
Page 1 LAWATU NI CURUCURU Kei Na IVAKALEKALEKA NI CURUCURU SEGA-NI-SAUMI KEVAKA O GADREVA NA VEIVUKE MO KILA VINAKA NA NOTISI OQO, VEITARATARA MAI
LAWATU NI CURUCURU kei na IVAKALEKALEKA NI CURUCURU SEGA-NI-SAUMI KEVAKA O GADREVA NA VEIVUKE MO KILA VINAKA NA NOTISI OQO, VEITARATARA MAI KIVEI BOB MUENCH ena (801) 578-8378. Na idusidusi oqo e volai me vukei iko mo kila na vei lawatu kei na iwalewale ni curucuru sega-ni-saumi ka vakakina se ocei e rawa ni sega-ni-saumi nona icurucuru ena vei Koronivuli ena Tikina o Salt Lake City. Rai-Vakararaba 1. Na lawa e Utah e vakatara na kena saumi na icurucuru ena kalasi vitu ka yacova sara na tinikarua. Kena ibalebale oqo ena rawa ni sauma na nomu gonevuli na isau ni iyaya ni vuli, itaviqaravi, kei na vei porokaramu tale eso. 2. Na icurucuru kece e rawa ni sega-ni-saumi. 3. Na gonevuli kece e cakitaki nona kerekere ni icurucuru sega-ni-saumi e tiko nona dodonu ni kerekere tale se appeal. Lawatu ni Tikina me baleta na iCurucuru Sega-ni-Saumi Na Matabose ni Vuli ena Tikina ni Koronivuli e Salt Lake City e sa tekivuna ka vakatara e dua na lawatu me baleta na curucuru sega-ni-saumi kei na ituvatuva ni saumi icurucuru ka vakatudonutaka kina na lawa ni yasana. Na lawatu, iwalewale, kei na ituvatuva ni saumi icurucuru e rawa ni laurai ena drauniveva ni tikina ena initaneti:slcschools.org/board-of-education/policies/ - scroll down the page and look for S-10: Curucuru ni Gonevuli kei na Curucuru Sega-ni-Saumi iWalewale ni Curucuru Sega-ni-Saumi Na dui qasenivuli-liu ena vei koronivuli era sa lesi me ra railesuva ka vakayulewa ena vei kerekere ni curucuru sega-ni-saumi. -
Sveučilište Josipa Jurja Strossmayera U Osijeku Filozofski Fakultet U Osijeku Odsjek Za Engleski Jezik I Književnost Uroš Ba
CORE Metadata, citation and similar papers at core.ac.uk Provided by Croatian Digital Thesis Repository Sveučilište Josipa Jurja Strossmayera u Osijeku Filozofski fakultet u Osijeku Odsjek za engleski jezik i književnost Uroš Barjaktarević Japanese-English Language Contact / Japansko-engleski jezični kontakt Diplomski rad Kolegij: Engleski jezik u kontaktu Mentor: doc. dr. sc. Dubravka Vidaković Erdeljić Osijek, 2015. 1 Summary JAPANESE-ENGLISH LANGUAGE CONTACT The paper examines the language contact between Japanese and English. The first section of the paper defines language contact and the most common contact-induced language phenomena with an emphasis on linguistic borrowing as the dominant contact-induced phenomenon. The classification of linguistic borrowing thereby follows Haugen's distinction between morphemic importation and substitution. The second section of the paper presents the features of the Japanese language in terms of origin, phonology, syntax, morphology, and writing. The third section looks at the history of language contact of the Japanese with the Europeans, starting with the Portuguese and Spaniards, followed by the Dutch, and finally the English. The same section examines three different borrowing routes from English, and contact-induced language phenomena other than linguistic borrowing – bilingualism , code alternation, code-switching, negotiation, and language shift – present in Japanese-English language contact to varying degrees. This section also includes a survey of the motivation and reasons for borrowing from English, as well as the attitudes of native Japanese speakers to these borrowings. The fourth and the central section of the paper looks at the phenomenon of linguistic borrowing, its scope and the various adaptations that occur upon morphemic importation on the phonological, morphological, orthographic, semantic and syntactic levels. -
Wai Vakaviti
WAI VAKAVITI Fijian Medicine SCIENTIA EST POTENTIA 2 1 Foreword An extended project of WAI VAKAVITI (Tabani Vosa Kei Na ITOVO Vakaviti Tabacakacaka Itaukei, March 1992) This task is initiated for knowledge propagation and conservation of Fijian Medicine. It is from this book and day to day collected knowledge that further combination of herbal medicine will be attempted for a broader spectrum and focussed medicinal care. Later versions will be coming later hopefully containing plants pictures and measurements together with their botanical names if that is possible. www.mobdelta.yolasite.com The following was involved in this project Mr.Meli Tupua Mr. Eroni Takape Mr. Joeli Tupua Mr. Apisai Camaitoga Ms. Nai Laisa Tanioria Mr. Marika Camaitoga Mr. Ropate Matalau Mr. Maika Tupua Mr. Meli Nayakalou Mr. Jone Karitakia 3 2 Table of Contents 1 FOREWORD ............................................................................................................................................. 2 2 TABLE OF CONTENTS ............................................................................................................................... 3 3 ALSA/VIDIKOSO ....................................................................................................................................... 7 4 BATABATĀ ............................................................................................................................................... 7 5 BATI [MOSI] .......................................................................................................................................... -
A Discovery in the History of Research on Japanese Kana Orthography: Ishizuka Tatsumaro's Kanazukai Oku No Yamamichi
国立国語研究所学術情報リポジトリ A discovery in the history of research on Japanese kana orthography: Ishizuka Tatsumaro's Kanazukai oku no yamamichi 著者(英) Shinkichi HASHIMOTO 翻訳者(英) Timothy J. Vance 校正者(英) Wayne Lawrence journal or Pioneering Linguistic Works in Japan publication title page range 1-24 year 2019-09 URL http://doi.org/10.15084/00002233 HASHIMOTO Pioneering Linguistic Works in Japan A Discovery in the History of Research on Japanese Kana Orthography: Ishizuka Tatsumaro’s Kanazukai oku no yamamichi HASHIMOTO Shinkichi 1 Two Aspects of Kana Orthography Research Kana orthography refers to the way of using kana [i.e., Chinese characters used to write Japanese syllables phonographically, including both the unabbreviated characters (man’yōgana), used mostly in the Nara period (710–794) and early in the Heian Period (794–1185), and the abbreviated forms (hiragana and katakana) that first appeared around 900]. When it comes to using あ to represent the sound “a” or か to represent the sound “ka,” things are clear and simple, and no doubts arise. It is only when two or more different letters correspond to the same sound, as in the case of い [i] and ゐ [wi] [both pronounced i today] or お [o] and を [wo] [both pronounced o today], that doubts arise as to which letter to use. Thus, we can say that problems of kana orthography are actually just problems of choosing which letter to use. Kana orthography problems have two aspects. On the one hand, there is the question of whether or not letters that represent the same sound (い [i] and ゐ [wi] [for i], お [o] and を [wo] [for o], etc.) should be distinguished, and if so, which letter should be used when. -
Japanese Writing 書き方 一 + 人 = 一人 あ い う え お ア イ ウ エ オ a I U E
書き方 THE JAPANESE HOUSE Japanese Writing ACTIVITIES Learn about Japanese writing and give it a try yourself! TIME: 25 minutes MATERIALS: • Video: ManyHomes in Kyoto, Japan—Ran •Kanji and Hiragana activity worksheets 1. Learn about Japanese Writing In Japanese, there are three writing systems called Hiragana, PRONUNCIATION Katakana, and Kanji. Hiragana and Katakana are both made up of 46 GUIDE: basic letters. Each of these letters represents one syllable. Hiragana Kanji: Kah-n-gee is used to write Japanese words, and Katakana is often used to write words from foreign languages. Japanese children start learning to Hiragana: Hee-rah-gah- write with Hiragana and Katakana in first grade. nah Kanji, originally from China, is the writing system made of thou- Katakana: Kah-tah-kah- sands of characters. Each character represents specific meaning. By nah putting characters together, you get new words with new meanings. Once first grade students have mastered Hiragana and Katakana, they start learning Kanji, but that takes a lot longer. By sixth grade, students will have learned 1,000 characters; to read newspapers, it’s said you need to know 2,000 Kanji characters. Besides these three writing systems, Rōmaji, the romanization of Japanese, is also commonly used. Hiragana あ い う え お Katakana ア イ ウ エ オ Romaji a i u e o Kanji 一 + 人 = 一人 ichi (one) hito (person) hitori (one person or alone) 1 © 2013 Boston Children’s Museum KYO NO MACHIYA ACTIVITIES 2. Practice Writing in Japanese 1. Watch the chapter “Ran” in the video “Many Homes in Kyoto, Japan” and find her calligraphy done in brush and ink. -
Character Encoding
Multilingualism on the Web Pascal Vaillant <[email protected]> IUT de Bobigny 1, rue de Chablis — 93017 Bobigny cedex www.iut-bobigny.univ-paris13.fr Writing systems IUT de Bobigny 1, rue de Chablis — 93017 Bobigny cedex www.iut-bobigny.univ-paris13.fr Writing systems • Mankind has been using speech for … as long as it deserves to be called human (definitory statement) e.g. 150 000 – 50 000 years (very approx) • It has been using writing since it has become organized in urban societies e.g. 5 000 years BP (approx) IUT de Bobigny 1, rue de Chablis — 93017 Bobigny cedex www.iut-bobigny.univ-paris13.fr Writing systems • Urban centres ⇒ specialization of economic units ⇒ currency ⇒ a central authority to control and organize ⇒ state and civil servants ⇒ taxes ⇒ accountancy ⇒ counting and writing IUT de Bobigny 1, rue de Chablis — 93017 Bobigny cedex www.iut-bobigny.univ-paris13.fr Development of writing systems • Highly probable origin: iconic (pictograms) • Examples (from Chinese): water: 水 (shuǐ) field: 田 (tián) mountain: 山 (shān) grass: 艸 (cǎo) fire: 火 (huǒ) beast: 豸 (zhì) horse: 馬 (mǎo) ox: 牛 (niú) IUT de Bobigny 1, rue de Chablis — 93017 Bobigny cedex www.iut-bobigny.univ-paris13.fr Development of writing systems • Combination → ideograms • Example (from Chinese): field: 田 (tián) grass: 艸 (cǎo) sprout: 苗 (miáo) IUT de Bobigny 1, rue de Chablis — 93017 Bobigny cedex www.iut-bobigny.univ-paris13.fr Development of writing systems • Rebus → ideophonograms • Example (from Chinese): ten thousands: 萬 (wàn) (orig. scorpion) sprout: 苗