DOCSLIB.ORG

Türkçe-Japonca Sözlük

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Türkçe-Japonca Sözlük Japonca Türkçe - Türkçe-Japonca Sözlük www.kitapsevenler.com Merhabalar %XUD\D<NOHGL÷LPL]H-kitaplar *|UPHHQJHOOLOHULQRNX\DELOHFH÷LIRUPDWODUGDKD]ÕUODQPÕúWÕU Buradaki E-.LWDSODUÕYHGDKDSHNoRNNRQXGDNL.LWDSODUÕELOKDVVDJ|UPHHQJHOOL DUNDGDúODUÕQLVWLIDGHVLQHVXQX\RUX] %HQGHELUJ|UPHHQJHOOLRODUDNNLWDSRNXPD\ÕVHYL\RUXP (NUDQRNX\XFXSURJUDPNRQXúDQ%UDLOOH1RW6SHDNFLKD]ÕNDEDUWPDHNUDQYHEHQ]HUL \DUGÕPFÕDUDoODU VD\HVLQGHEXNLWDSODUÕRNX\DELOL\RUX]%LOJLQLQSD\ODúÕOGÕNoDSHNLúHFH÷LQHLQDQÕ\RUXP Siteye yüklenen e-NLWDSODUDúD÷ÕGDDGÕJHoHQNDQXQDLVWLQDGHQWP NLWDSVHYHUDUNDGDúODULoLQKD]ÕUODQPÕúWÕU $PDFÕPÕ]\D\ÕQHYOHULQH]DUDUYHUPHN\DGDHVHUOHUGHQPHQIDDWWHPLQHWPHNGH÷LOGLUHOEHWWH Bu e-kitaplar normal kitapODUÕQ\HULQLWXWPD\DFD÷ÕQGDQNLWDSODUÕEH÷HQLSWHHQJHOOLROPD\DQ okurlar, NLWDSKDNNÕQGDILNLUVDKLELROGXNODUÕQGDLQGLUGLNOHULNLWDSWDDGÕJHoHQ \D\ÕQHYLVDKDIODUNWSKDQHYHNLWDSoÕODUGDQLOJLOLNLWDEÕWHPLQHGHELOLUOHU Bu site tamamen ücretsizdir YHVLWHQLQLoHUL÷LQGHVXQXOPXúRODQNLWDSODU KLoELUPDGGLoÕNDUJ|]HWLOPHNVL]LQWPNLWDSGRVWODUÕQÕQLVWLIDGHVLQHVXQXOPXúWXU Bu e-NLWDSODUNDQXQHQKLoELUúHNLOGHWLFDULDPDoODNXOODQÕODPD]YHNXOODQGÕUÕODPD] %LOJL3D\ODúPDNODdR÷DOÕU <DúDU087/8 øOJLOL.DQXQ6D\ÕOÕ.DQXQXQDOWÕQFÕ%|OP-dHúLWOL+NPOHUE|OPQGH\HUDODQ "EK MADDE 11. -'HUVNLWDSODUÕGDKLODOHQLOHúPLúYH\D\D\ÕPODQPÕú\D]ÕOÕLOLP YHHGHEL\DWHVHUOHULQLQHQJHOOLOHULoLQUHWLOPLúELUQVKDVÕ\RNVDKLoELUWLFDUvDPDo güdülmekVL]LQELUHQJHOOLQLQNXOODQÕPÕLoLQNHQGLVLYH\DoQF ELUNLúLWHNQVKDRODUDN\DGDHQJHOOLOHUH\|QHOLNKL]PHWYHUHQH÷LWLPNXUXPXYDNÕIYH\D GHUQHNJLELNXUXOXúODUWDUDIÕQGDQLKWL\DoNDGDUNDVHW&'EUDLOO DOIDEHVLYHEHQ]HULIRUPDWODUGDoR÷DOWÕOPDVÕYH\D|GQoYHULOPHVLEX.DQXQGD|QJ|UOHQ L]LQOHUDOÕQPDGDQJHUoHNOHúWLULOHELOLU%XQVKDODUKLoELUúHNLOGH VDWÕODPD]WLFDUHWHNRQXHGLOHPH]YHDPDFÕGÕúÕQGDNXOODQÕODPD]YHNXOODQGÕUÕODPD]$\UÕFD bu nüshalar]HULQGHKDNVDKLSOHULLOHLOJLOLELOJLOHULQEXOXQGXUXOPDVÕ YHoR÷DOWÕPDPDFÕQÕQEHOLUWLOPHVL]RUXQOXGXUPDGGHVLQHLVWLQDGHQZHEVLWHVLQGHGHQHPH \D\ÕQÕQDJHoLOPLúWLU 7&.OWUYH7XUL]P%DNDQOÕ÷Õ%LOJLøúOHPYH2WRPDV\RQ'DLUHVL%DúNDQOÕ÷Õ ANKARA bu NLWDS*|UPHHQJHOOLOHULoLQG]HQOHQPLúWLU .LWDEÕ7DUD\DQYH']HQOH\HQ$UNDGDúDoRNoRNWHúHNNUOHU EXNLWDSODUEXKDOHJHOHQHNDGDUYHULOHQHPH÷HVD\JÕGX\DUDNOWIHQEXDoÕNODPDODUÕVLOPH\LQ Japonca Türkçe - Türkçe-Japonca Sözlük )212(öø7ø0.8580/$5I $oÕN|÷UHWLP.XUVODUÕPÕ] 7HPHOøQJLOL]FH +HULøQJLOL]FH $NDGHPLNøQJLOL]FH ,QWHUDNWLIøQJLOL]FH Temel Almanca øOHUL$OPDQFD Interaktif Almanca )UDQVÕ]FD øWDO\DQFD ispanyolca Rusça Arapça 0LOOL(÷LWLP%DNDQK÷Õ QGDQRQD\OÕ.856%ø7ø50(%(/*(6øYHUHQ$oÕN|÷retim .XUVODUÕPÕ]VL]H\HQLELUJHOHFHNVXQX\RU *HQLELOJLLoLQh&5(76ø=7$1,7,0%52ùh5h0h=hLVWH\LQL]7&0ø//ø(öø7ø0 %$.$1/,ö,g=(/ fi FONO BBBBBBBBBB/8$d,.gö5(7ø0.85808BBBBBBBBBB *QGR÷GX&DGGHVL1R0HUWHU-ISTANBUL Tel: 0212 641 99 00 Faks: 0212 506 56 45 www.fono.com.tr E-posta: [email protected] )RQR<D\ÕQODUÕ6|]ON'L]LVL Japonca-Türkçe Türkçe-Japonca ÖNSÖZ +D]ÕUOD\DQ%LUVHQdDQND\D ISBN 975-471-025-2 RQ\ÕOODUGD7UNL\HYH-DSRQ\DDUDVÕQGDNLLOLúNLOHULQ\R÷XQODú-ÕD6ÕQHGHQL\OH-DSRQ\DYH -DSRQFD\DGX\XODQLOJLKÕ]ODDUW-ÕD.WDGÕU$QFDN-DSRQFD\Õ|÷UHQPHNLVWH\HQOHUEXGLOOH ilgile-QOHUGLO|÷UHQLPLQGHHQ|QHPOLJHUHNVLQLPRODQV|]ONNR-usunda tam bLUERúOXNOD NDUúÕODúPÕúODUGÕU XJHUHNVLQLPLNDUúÕOD\DELOPHNDPDFÕ\ODHOHDOGÕ÷ÕPÕ]EXFHS]O÷RNXUDNROD\OÕNVD÷ODPDVÕ DoÕVÕQGDQ/DWLQKDUIOHULLOH\D-,PÕúø83\DNODúÕNV|]F÷NDSVDPDNWDGÕU6|]FNOH-n RNXQXúODUÕD\QHQ\D]ÕOGÕ÷ÕJLELROGX÷XQGDQD\UÕFDYHULOPH-ÕÕúWLU'H÷LúLNOLNJ|VWHUHQoRND] VD\ÕGDNLVHVOHULVHV|]O÷QDúÕQGDNL2NXQXú%LOJLOHULE|OPQGHYHULOPLúWLU |]O÷QoD÷GDúV|]YDUOÕ÷ÕYHNROD\NXOODQÕPÕLOHKHUWURNXULQ\DUDUOÕRODFD÷ÕYHEXDODQGD duyulan büyük gereksinimi ismeQGHROVDGROGXUDFD÷ÕNDQÕVÕQGD\Õ] EKO OFSET-ø67$1%8/ Tel: (0212) 612 36 58 -2003- ONO 3 6g=/höh1.8//$1,0, 2.818ù%ø/*ø/(5ø $QDJLULúWHQLoHUOHNRODUDNYHULOHQ\DQJLULúOHUGHDQDoDSRQFDGD+LUDJDQD.DWDNDQDYH Kanji olmak üzere üç tip ya-aynen tekrDUODQPÕúWÕUI VM6WHPLYDUGÕU+LUDJDQDYH.DWDNDQDGDKHUKDUIELUKHFH\L , . „ ..... ... , , _, , , . , . .eiirtir. Hiragana genellikle Japonca kökenli, Katakana ise ya- WRUÕ-ÕUHKDVDWXUXQWRU-ÕUHUXWDUODGDQNDOGÕUPDNEÕoPAGLOOHUGHQ-DSRQFD\DJLUHQ V|]FNOHULQ\D]ÕOPDVÕQGDNXO-\X]DÕVXoKDWD\X]DQRVXoOXKDWDOÕAoLQFH kökerlN harfler, Kanji ile belirtilir. Genelde Kanji 2 : Japoncada kimi sözcükler bazen bir ifade içinde anlam e sözcüklerin kökü, Hiragana ile de V|]FNOHUHWDNÕODQHNOHU]DQPDNWDGÕU%XWULIDGHOHUGHDQDJLULúRODUDNDOÕQDQLONSDÕD]OU \DNDUúÕOÕNYHULOPH\LSNXOODQÕOGÕ÷ÕGL÷HUV|]FN OHU LOH7UÕXV|]ÕNWH\D]ÕOGÕ÷ÕQGDQIDUNOÕ olarak okunan kimi seslerle ilai-NDUúÕOÕ÷ÕYHULOPLúWLU E__JL_HUDúD÷ÕGDYHULOPLúWLU miseshime: miseshime-ni suru uyarmak \ZDNX\ZDNXVXUXD\DUWPDNEDúWDQoÕNDUPDNA7UNoHGHNLoVHVLJLELGLU <D]ÕOÕúÕYHRNXQXúXD\QÕDQODPODUÕIDUNOÕRODQV|]FNOHFKLFKLoLoLúHNOLQGH QXPDUDODQPÕúWÕULFKLødø kanemochi /kanemoçi/ akimi vazgeçmek , ranchi /rançi/ DNLPEÕNPDN IXNHUXO\DúODQPDNÕ7UNoHGHNLúVHVLJLELGLU fukeru2 geç olmak IXNHUXVWHVOLPROPDNER\XQH÷PHNNXVKRQNXúRQ UHNÕVKÕUHNÕúÕ .LPLJLULúOHULQ\DQÕQGDSDUDQWH]LoLQGHED]ÕHNOHU\D]ÕOQUHVVKDUHVúD WÕU%XGXUXPV|]F÷QFPOHLoLQGHRHNOHUOHELUOLNWHNXOODVKRNNLúRNNL GÕ÷ÕQÕJ|VWHULU omou (-to - GúQPHNVDQPDN7UNoHGHNLFVHVLJLELGLU tsuite (-ni - KDNNÕQGDLOLúNLQKDMLPHQDFOPH <XNDUÕGDNL|UQHNOHUGHQRPRXILLOLQLQ-to omou ; Xs^u-L&D-A^HGDWÕQÕQ-QLWVXLWHúHNOLQGH NXOODQÕODFD÷ÕDQODúÕOPDNWDGÕÕ 'OL- 4 1RW6|]ONWHkHYHúHNOLQGHJ|UHQKDUIOHUX]D rak okunur. okâsan /okaasan/ râmen /raamen/ metoru /meetoru/ teburu /teeburu/ chîzu /çiizu/ merodî /merodli/ imöto/imooto/ köen /kooen/ kûki/kuuki/ jûni /juuni/ Nihongo-Torukogo Japonca-Türkçe A DUMDNXDoÕ÷DYXUPDN VÕU abarabone kaburga abekobe ters DELUX\ÕNDQPDNEDQ\R\DSPDN DEXDWVLQH÷L abumi üzengi îbunai tehlikeli, rizikolu abu-nai! dikkat et! ÕEXQDNXQHUHGH\VHKHPHQKHPHQD]NDOVÕQ ÕEXQDNXQDLWHKOLNHVL] ÕEXUD\D÷DEXUDRVDVX\D÷ODPDN ÕEXUDH\D÷OÕER\DWDEOR EXUDNNRL\D÷OÕ EXUDPXVKLKDPDPE|FH÷L EXUXNÕ]DUWPDN chi kemer chira ora KLUDJDZDGL÷HUWDUDI|EUWDUDI :hirakochira oraya, buraya iana takma ad, lakap iokenai saf, masum aegu solumak aegi nagara nefes nefese aen çinko DHQDLDFÕNOÕ]F aete cesurca, cüretkârca DIXUHUXWDúPDN Afurika Afrika Afurika no Afrika Afurika-jin $IULNDOÕ DJDUL\NVHOPHoÕNPD agaru yükselmek DJHUXNDOGÕUPDN\NVHOWPHNDUWÕUPDNYHUPHN ageshio kabarma ago çene agohige sakal agura: agura o kaku bacak EDFDNVWQGHRWXUPDNDKHQDI\RQDKLUX|UGHNDK|JHUL]HNkOÕDSWDODK|GRULDOEDWURVDLDúN sevgi DLEXRNúDPDDLEXRVXUXRNúDPDNDLGDDUDOÕN QR DLGD-QLDUDVÕQ- GDDUDVÕQDDLGD-QLVÕUDVÕQGDLNHQVRUÕRDLGD-ni bu arada aidea fikir DLM|DúNVHYJLDLM|QRQDLVHYJLVL] aikagi maymuncuk DLNDZDUD]XKHU]DPDQROGX÷XJLEL aikoku yurtseverlik, vatanperverlik aikoku-sha yurtsever, vatanperver aikotoba parola aikyö incelik, zarafet aikyö no aru ince, zarif aima ara, teneffüs DLPDLQDEHOLUVL]NDUÕúÕN DLQLNX\D]ÕNNLPDDOHVHI airon ütü airon o kakeru ütülemek DLVDWVXVHODPODúPDVHODPDLVDWVXVXUXVHODPODPDNVHODPYHUPHN DLVK|EHQ]HUOLN\DNÕQOÕN DLV|DUNDGDúOÕNGRVWOXNDLV|QR\RLGRVWoDDUNDGDúoDLoWHQ aisuhokke buz hokeyi aisukurîmu dondurma aisuru sevmek DLWDERúVHUEHVW|]JU DLWDLNDUúÕOÕNOÕGXUXPDLWDLQDDoÕNDNHSSDQDVKL-ni su- úDKVHQUXDoÕNEÕUDNPDN DLWHHúRUWDN_NHUX DoPDN DLW|EDúVD÷OÕ÷ÕWD]L\H_NHUX\RJDDNHUXJQGR÷- DLW|VXUX\DVÕQÕWXWPDNPDNVDEDKROPDNDNHPDV-â-iu böyle, öyle, bunun gi[ nite omedetö! \HQL\ÕOÕQÕ]D-i-u-e-o Japon abecesi, «utlu olsun! pon alfabesi iki sonbahar, güz DL]XVLQ\DOLúDUHWDL]XILUDNDDNLUDNDQDDoÕND\- VLQ\DOYHUPHNøúDUHWHWLGÕQOÕNDNLUDND-QLVXUXD\GÕQ-aji tat, lezzet aji ga sun, latmak, DoÕNODPDN YHUPHNDMLQR\RLHQIHV.LUDPHUXYD]JHoPHNEÕUDN- ]L]OH]]HWOLDMLQ|VKXYÕPDN WDWVÕ]OH]]HWVL]NLUXYD]JHoPHN $MLD$V\D$MLDQR$VALUX%ÕNPDN Ajia-MLQ$V\DOÕNNHQDL\HWHUVL]D] ajiZDXWDGÕQDEDNPDNNRJDUH|]OHP -ni) akogare-DNDNÕUPÕ]ÕUX|]OHPHN akachan bebek ku1 fena DNDJDQHEDNÕUNXDoÕOPDN DNDLNÕUPÕ]ÕNXELHVQHPHDNXELRVXUX akaku: akaku naruNÕ]DUÕUHVQHPHNDNDPE|EHEHNNXK\|DNXK\|QRDUXN|W DNDPLNÕ]ÕOOÕNDOOÕNWDQÕQPÕúDGÕoÕNPÕú DNDUDVDPDQDDoÕND\GÕÕÕNXLIHQDOÕNN|WONDNXLQRDNDUXLD\GÕQOÕNDoÕNDNDÕDUXN|W niyetli QDUXD\GÕQOÕNROPDNDNXPDúH\WDQ lanmak kumu kâbus, karabasan DNDVKLDDNDV\DNXVHQWRYXUJXúLYH DNDVXJHoLUPHN YDNLW NXVKXHOVÕNÕúPDWRNDDNHSSDQDVKLDNHSSDQDNXVKXRVXUX HOVÕNÕúPDN WRNDODúPDk akushu2 pis koku ama rahibe amachua amatör DPDGDUH\D÷PXUGDPODVÕ amado kepenk, panjur DPDJDVDúHPVL\H DPDLWDWOÕDPDLPRQRúHNHUWDWOÕ DPDNXDPDNXVXUXWDWOÕODúWÕUPDN DPDPLWDWOÕOÕN DPDPL]X\D÷PXUVX\X amanogavva Samanyolu aman çok, -GHQID]ODDUWÕN amaru kalmak, artmak DPH\D÷PXUDPHJDIXUX\D÷PXU\D÷PDN Amerika Amerika Amerika no Amerika + Amerika-MLQ$PHULNDOÕ DPLD÷úHEHNHDPLGRVLQHNOLN DPLPHGLNLúLOPHN DPLPRQR|UPHLúL âmondo badem DPSLVD÷OÕN ampuru ampul amu örmek ana delik, çukur anadori küçümseme, hor bak- 12 anago__________ ma anadoru küçümsemek, hor bakmak DQDJR\ÕODQEDOÕ÷Õ anata sen, siz anata no senin, sizin anata-ni sana, size anatagata siz anatagata no sizin anatagata-ni size anatatachi siz anatatachi no sizin anatatachi-ni size anaunsâ spiker anaunsu bildiri, duyuru DQGkUDLQDQGkUDLQRKLNXDOWÕQÕoL]PHN DQGR\DWÕúWÕUPDDQGRVXUX\DWÕúWÕUPDN ane abla DQJDLDQJDLQDEHNOHQPHGLNXPXOPDGÕN DQLD÷DEH\ anji telkin, öneri, ima anji suru telkin etmek, önermek, ima etmek anjiru korkmak anki: anki suru ezberlemek anko emniyet, güvenlik anko na emin, güvenilir DQNRNXNDUDQOÕN anna öyle, onun gibi, o kadar annai rehberlik annai suru rehberlik etmek, yol göstermek 13 DUÕWVXNX DQQDLMRGDQÕúPDEURVXDQQDLVKDOLGHU|QGHU vuz, rehber anRúXRDQ|úH\HHDQRQHE|\OHFHRKDOGHDQUDNXQDUDKDWNRQIRUOXDQUDNX- LVXNROWXNDQVDWVXVXLNDVWDQVDWVXNHLNDNXVXLNDVWDQVDWVXVKDVXLNDVWoÕDQVKLQVNQHWUDKDWOÕN DÕ hin suru rahatlamak zameru sararmak aozame 1,3 ta solgun, soluk 5pâto apartman RSDNXEDVÕQoEDVNÕDSSDNXVXUXEDVWÕUPDNVÕNÕúWÕUPDN "SDUHQDROD÷DQVWP-Kemmel DDKD\ NDGÕQODUNXOODQÕU ÕUD-arashii kaba, sert irabia Arabistan Arabia no Arabistan + Arabia-jin Arap Arabia-go Arapça VDÕ OHúPHNÕUDGDWHUXKH\HFDQODQGÕUPDN DQVKLWVXNDUDQOÕNRGDDUDGDWVXKH\HFDQODQPDN DQWDLGLQOHQPHUDKDWVHVÕUDML\ÕNDPDoDPDúÕU lik antai na rahat, huzü|rai2 kaba, sert
Load more

Recommended publications
  • 1423778527171.Pdf
    Bahamut - [email protected] Based on the “Touhou Project” series of games by Team Shanghai Alice / ZUN. http://www16.big.or.jp/~zun/ The Touhou Project and its related properties are ©Team Shanghai Alice / ZUN. The Team Shanghai Alice logo is ©Team Shanghai Alice / ZUN. Illustrations © their respective owners. Used without permission. Tale of Phantasmal Land text & gameplay ©2011 Bahamut. This document is provided “as is”. Your possession of this document, either in an altered or unaltered state signifies that you agree to absolve, excuse, or otherwise not hold responsible Team Shanghai Alice / ZUN and/or Bahamut, and/or any other individuals or entities whose works appear herein for any and/or all liabilities, damages, etc. associated with the possession of this document. This document is not associated with, or endorsed by Team Shanghai Alice / ZUN. This is a not-for-profit personal interest work, and is not intended, nor should it be construed, as a challenge to Team Shanghai Alice / ZUN’s ownership of its Touhou Project copyrights and other related properties. License to distribute this work is freely given provided that it remains in an unaltered state and is not used for any commercial purposes whatsoever. All Rights Reserved. Introduction Choosing a Race (Cont.’d) What Is This Game All About? . 1 Magician . .20 Too Long; Didn’t Read Version . 1 Moon Rabbit . .20 Here’s the Situation . 1 Oni . .21 But Wait! There’s More! . 1 Tengu . .21 Crow Tengu . .22 About This Game . 2 White Wolf Tengu . .22 About the Touhou Project . 2 Vampire . .23 About Role-Playing Games .
    [Show full text]
  • Identification of Asian Garments in Small Museums
    AN ABSTRACTOF THE THESIS OF Alison E. Kondo for the degree ofMaster ofScience in Apparel Interiors, Housing and Merchandising presented on June 7, 2000. Title: Identification ofAsian Garments in Small Museums. Redacted for privacy Abstract approved: Elaine Pedersen The frequent misidentification ofAsian garments in small museum collections indicated the need for a garment identification system specifically for use in differentiating the various forms ofAsian clothing. The decision tree system proposed in this thesis is intended to provide an instrument to distinguish the clothing styles ofJapan, China, Korea, Tibet, and northern Nepal which are found most frequently in museum clothing collections. The first step ofthe decision tree uses the shape ofthe neckline to distinguish the garment's country oforigin. The second step ofthe decision tree uses the sleeve shape to determine factors such as the gender and marital status ofthe wearer, and the formality level ofthe garment. The decision tree instrument was tested with a sample population of 10 undergraduates representing volunteer docents and 4 graduate students representing curators ofa small museum. The subjects were asked to determine the country oforigin, the original wearer's gender and marital status, and the garment's formality and function, as appropriate. The test was successful in identifying the country oforigin ofall 12 Asian garments and had less successful results for the remaining variables. Copyright by Alison E. Kondo June 7, 2000 All rights Reserved Identification ofAsian Garments in Small Museums by Alison E. Kondo A THESIS submitted to Oregon State University In partial fulfillment of the requirements for the degree of Master ofScience Presented June 7, 2000 Commencement June 2001 Master of Science thesis ofAlison E.
    [Show full text]
  • My Kimono Kick
    My Kimono Kick 着物の楽しみ Natalya Rodriguez ナタリア・ロドリゲス 私が日本に越してきてすぐのある日、びっくりするような贈り物が送られてきました。中には、私の祖母が横浜の近くの One day soon after I had moved to Japan, I received a surprise package in the mail. Inside I found a bunch of black and アメリカン・スクールで教師をしていた時の、（若い頃の）祖母の写真が大量に入っていました。そのうちの1枚には、祖 white pictures of my (young!) grandma during her time as a teacher at an American school near Yokohama. One of the 母が着物を着た姿が写っていて、写真の下には、まさにその着物が、長年しまい込まれた香りとともに、帯、草履、足袋 pictures showed her dressed in kimono, and beneath the prints, that very kimono was tucked into the box along with the obi, zori, and tabi, all rich with the scent of long years sleeping in storage. After more than 50 years, this kimono had と一緒に詰められていました。50年以上の時を越えて、この着物は日本に戻ってきたのです。私は、それを着ることで祖 returned to Japan. I was determined to carry out my grandmother’s legacy by wearing it. The only question was, how? 母の遺産を生かそうと決心しました。唯一の疑問は、どうやって？ということでした。 Subscribing to the theory of 6 degrees of separation, I knew a kimono expert couldn’t be too far away. It turns out that in 6次の隔たり（知り合いを6人辿っていくと世界中の誰とでも知り合いになれる）という仮説を当てはめると、着物の専門 Japan almost everyone knows someone who knows about kimono. I was soon introduced to Ms. Kimura, who graciously 家に辿り着くのは遠すぎるというわけではありません。日本では、ほとんど誰もが、着物について知っている誰かを知っ agreed to take me to her friend’s shop, which buys and sells kimonos secondhand. As I nestled in the shop amidst stacks ていることがわかりました。私はすぐに、木村さんという方を紹介してもらい、彼女は快く、リサイクル着物を扱ってい and stacks of carefully folded kimonos and gorgeous fabric, a new obsession was born. It was like looking at an artist’s るというお友達の店へ連れて行ってくれました。お店に入り、注意深く積まれた着物や豪華な生地の山に囲まれ、夢中に palette just waiting to be used. That day I ended up buying a secondhand furisode, still knowing nothing about how to なりました。まるで、使われるのを待っている画家のパレットを見ているようでした。その日は結局、リサイクルの振袖 actually wear the garment I was buying.
    [Show full text]
  • Illustration and the Visual Imagination in Modern Japanese Literature By
    Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work.
    [Show full text]
  • The Chiba University International Collaborative Research
    The Chiba University International Collaborative Research 2012 CONTENTS Faculty of Letters…..……………………………………………………………………………………….…………. 1 Faculty of Education ……………………………………………………………………………………………….… 1 Graduate School of Science …………………………………………………………………………………………… 7 Graduate School of Medicine …………………………………………………………………………………..……. 38 Center for Forensic Mental Health ………………………………………………………………..…………..…… 50 Graduate School of Pharmaceutical Sciences ………………………………………………………………… … 53 School of Nursing ……………………………………………………………………………………………………… 62 Graduate School of Engineering …………………………………………………………………………………… 65 Graduate School of Advanced Integration Science ……………………………………………………………… 70 Graduate School of Horticulture …………………………………………………………………………………… 82 Center for Environmental Remote Sensing ……………………………………………………………………… 105 Medical Mycology Research Center (MMRC)…………………………………. .…………………………………. 119 Institute of Media and Information Technology .………………………………….……………………………… 120 Center for Frontier Science ………………………………………………………………………………………… 121 Marine Biosystems Research Center ………………………………………………………………………..……… 124 Center for Environment, Health and Filed Sciences ..……………………………………………….……..…… 125 Shanghai Jiao Tong University and Chiba University International Cooperative Research Center (SJTU-CU ICRC) …………………………………………………………………………………………..……..…… 128 The subject of this survey is specified as “International Collaborative Research”. It refers to an international research carried out jointly on a departmental, laboratory or personal level, and introduces works,
    [Show full text]
  • EVOLUTION of JAPANESE WOMEN's KIMONO from A.D. 200 to 1960
    THE EVOUTCION OF JAPANESE WOMEN'S KIMONO FEOK A.D. 200 TO 1960 *"> MASAKO TOYOSHMA B. S., Fukuoka Women's University, 1963 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE General Home Economics College of Home Eoonomios KANSAS STATE UNIVERSITY Manhattan, Kansas 1967 Approved byi Major Professor TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 II. HU-STYLE PERIOD (A.D. 200-552) 7 Political Situation 7 Dress of tha Period 9 III. T'ANG-STYLE PERIOD (552-894) 13 Politioal Situation 13 Dress of T'ang-stylo Period 18 IV. OS0DE-FASHI0N PERIOD (894-1477) 26 Political Situation 26 Dress of the OBode-Fashion Period 33 V. KOSODE-FASHION PERIOD (1477-1868) 44 Politioal Situation 44 Dress of Kosode-fashion Period •• 52 VI. JAPANESE-WESTERN PERIOD (1868-1960) 68 Politioal Situation 68 Dress of Japanese -'Western Period • 75 VII. SUMMARY AND RECOMMENDATIONS 83 Summary ............. 83 Recommendations •• •• 87 88 BIBLIOGRAPHY • • • ii LIST OF PLATES PLATE PAGE I Dress of Hu-style Period ..... ... 11 II Dress of T'ang-style Period 21 III Dress of Osode-fashion Period 37 17 Dress of Kosode-fashion Period 54 V Dress of Japanese -We stern Period. ............ 82 iii CHAPTER I INTRODUCTION Costume expresses a relationship to the ideals and the spirit - of the country during a particular time. Hurlock states in The Psych ology of Pre s s : In every age, some ideal is developed which predominates over all others. This ideal may be religious or political; it may re- late to the crown or to the people; it may be purely social or artistic, conservative or radical.
    [Show full text]
  • Japanese Costume
    JAPANESE COSTUME BY HELEN C. GUNSAULUS Assistant Curator of Japanese Ethnology FIELD MUSEUM OF NATURAL HISTORY CHICAGO 1923 Field Museum of Natural History DEPARTMENT OF ANTHROPOLOGY Chicago, 1923 Leaflet Number 12 Japanese Costume Though European influence is strongly marked in many of the costumes seen today in the larger sea- coast cities of Japan, there is fortunately little change to be noted in the dress of the people of the interior, even the old court costumes are worn at a few formal functions and ceremonies in the palace. From the careful scrutinizing of certain prints, particularly those known as surimono, a good idea may be gained of the appearance of all classes of people prior to the in- troduction of foreign civilization. A special selection of these prints (Series II), chosen with this idea in mind, may be viewed each year in Field Museum in Gunsaulus Hall (Room 30, Second Floor) from April 1st to July 1st at which time it is succeeded by another selection. Since surimono were cards of greeting exchanged by the more highly educated classes of Japan, many times the figures portrayed are those known through the history and literature of the country, and as such they show forth the costumes worn by historical char- acters whose lives date back several centuries. Scenes from daily life during the years between 1760 and 1860, that period just preceding the opening up of the coun- try when surimono had their vogue, also decorate these cards and thus depict the garments worn by the great middle class and the military ( samurai ) class, the ma- jority of whose descendents still cling to the national costume.
    [Show full text]
  • Program 1..169
    The 92nd Annual Meeting of CSJ Program tein Synthesis Using Peptide Thioesters as Building Blocks（IPR, Osaka Room S1 Univ.）AIMOTO, Saburo（15:20～16:20） 4th Bldg., Section B J11 Room S2 CSJ Award Presentation 4th Bldg., Section B J21 Sunday, March 25, AM Chair: KOBAYASHI, Hayao（11：00～12：00） CSJ Award Presentation 1S1- 01 CSJ Award Presentation Edge State of Nanographene and its Electronic and Magnetic Properties（Tokyo Institute of Technology） Monday, March 26, AM ENOKI, Toshiaki（11:00～12:00） Chair: SHIROTA, Yasuhiko（10：00～11：00） 2S2- 01 CSJ Award Presentation Creation of Functional Supramole- cular Polymers through Molecular Recognition（Grad. Sch. Sci., Osaka Monday, March 26, AM Univ.）HARADA, Akira（10:00～11:00） Chair: TATSUMI, Kazuyuki（10：00～11：00） 2S1- 01 CSJ Award Presentation Pioneering and Developing Studies Chair: HIYAMA, Tamejiro（11：10～12：10） on Structural Chemistry of Fluctuations（Grad. Sch. Adv. Integration Sci., 2S2- 02 CSJ Award Presentation Studies on the Chemistry of Low- Chiba Univ.）NISHIKAWA, Keiko（10:00～11:00） Coordinate Organosilicon and Heavier Group 14 Element Compounds（Grad. Sch. Pure Appl. Sci., Univ. of Tsukuba）SEKIGUCHI, Akira（11:10～ Chair: TANAKA, Kenichiro（11：10～12：10） 12:10） 2S1- 02 CSJ Award Presentation Development of Photocatalysts for Overall Water Splitting（The Univ. of Tokyo）DOMEN, Kazunari（11:10～ 12:10） Frontier of Plasmonic Photochemistry Monday, March 26, PM New Challenges in Bioinorganic Chemistry - Chair: MURAKOSHI, Kei（13：30～14：50） Towards New Development of Bio-Related 2S2- 03 Special Lecture Opening Remarks（RIES, Hokkaido Univ.） Chemistry MISAWA, Hiroaki（13:30～13:40） 2S2- 04 Monday, March 26, PM Special Lecture Tuning of surface plasmon resonance wave- lengths by structural control of inorganic nano particles（ICR, Kyoto Univ.） Chair: ITOH, Shinobu（13：30～14：50） TERANISHI, Toshiharu（13:40～14:15） 2S1- 03 Special Lecture Artificial Photosynthesis for Production of 2S2- 05 Special Lecture Fabrication of Metal-Semiconductor Nano- Chemical Fuels（Grad.
    [Show full text]
  • Japanese Folk Tale
    The Yanagita Kunio Guide to the Japanese Folk Tale Copublished with Asian Folklore Studies YANAGITA KUNIO (1875 -1962) The Yanagita Kunio Guide to the Japanese Folk Tale Translated and Edited by FANNY HAGIN MAYER INDIANA UNIVERSITY PRESS Bloomington This volume is a translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai. Tokyo: Nihon Hoso Shuppan Kyokai, 1948. This book has been produced from camera-ready copy provided by ASIAN FOLKLORE STUDIES, Nanzan University, Nagoya, japan. © All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Manufactured in the United States of America Library of Congress Cataloging-in-Publication Data Nihon mukashibanashi meii. English. The Yanagita Kunio guide to the japanese folk tale. "Translation of Nihon mukashibanashi meii, compiled under the supervision of Yanagita Kunio and edited by Nihon Hoso Kyokai."­ T.p. verso. "This book has been produced from camera-ready copy provided by Asian Folklore Studies, Nanzan University, Nagoya,japan."-T.p. verso. Bibliography: p. Includes index. 1. Tales-japan-History and criticism. I. Yanagita, Kunio, 1875-1962. II. Mayer, Fanny Hagin, 1899- III. Nihon Hoso Kyokai. IV. Title. GR340.N52213 1986 398.2'0952 85-45291 ISBN 0-253-36812-X 2 3 4 5 90 89 88 87 86 Contents Preface vii Translator's Notes xiv Acknowledgements xvii About Folk Tales by Yanagita Kunio xix PART ONE Folk Tales in Complete Form Chapter 1.
    [Show full text]
  • Talks About Teachings of the Past. Translation of the Third Part Of
    Talks about Teachings of the Past Translation of the Third Part of Kaiho Seiryô’s Keiko dan Michael Kinski, Berlin As in the first two parts of Keiko dan 稽古談 Kaiho Seiryô 海保青陵 (1755–1817)1 discusses a broad range of subjects thematically linked by the flow of narration. The opening issue is introduced by a situation of ‘social conflict’: the clash of interests between a warrior official sent to Osaka on a mission of money-raising, and a money-lender. Technically speaking, the third part of KD2 divides into two sections shedding light from opposing perspectives on the positions of the parties involved who, despite conflicting motives, are mutually dependent. A short middle piece effects the transition between the two parts of argumentation. Seiryô’s text lacks articulate theorizing and elaborate philosophical concep- tions, and even gives short shrift to Confucian philosophy and its key concepts. Still, it succeeds in tackling long-standing problems of political philosophy that also had their place in the European history of ideas. A central concern is reflexivity. This is contrasted with impromptu intelli- gence serving only the moment, observable not only in actual life, as exemp- lified by the warrior official’s dealings with his merchant counterpart, but also in Confucian classics where it is an outward sign for the interiorization of virtue and learning. Seiryô contends that one should investigate the inner sentiments of the other person before one can proceed to control social intercourse. At the same time, he professes that expertise or real knowledge can only be gained from a practical involvement in life.
    [Show full text]
  • Yokai Mysteries
    Mysteries 妖TM 怪 of the Yokai— ~ 妖怪の謎 ~ INTRODUCTORY BOOK 妖怪 Mysteries of the Yo-kai ~ 妖怪の謎 ~ Table of Contents - What is Mysteries of the Yokai? 3 The Story So Far… 3 - Conflict in Mysteries of the Yokai 4 Character Abilities 4 Taking Actions - Checks and Attribute Checks 5 Conflict Tracker 7 Attack and Defend Actions 7 Tide Damage 9 Morale Damage 9 Using the Conflict Tracker 10 Zones and Range - Position in Conflicts 11 Example Conflict 12 Role Playing Games with a Game Master 18 - The World of Mysteries of the Yokai 19 Andrew Sudangnoi Editor Setting Creator Craig T. Judd Author Artist Artists Layout Alex Langenstein Ash Evans Matt Trussell Beth Molina Game Mechanics Brittany Keller Author Danie Townsley Devin Hoyt Richard Martija Joseph Frueauf Producer Katie Ryan Secondary Author Marisa Erven Editor Shane McIntire Suzi Larsen Copyright 2014-2017 Warding Circle All Rights Reserved ™ 2 What is Mysteries of the Yōkai? Example Scenario - Pride of the Mysteries of the Yōkai is a Role Playing Game Mountain Oni set in mythical classic Japan. As a player, you Most RPGs are played in sessions that last a will explore a world where the supernatural has few hours, usually an afternoon or evening. These begun to overlap with the real world. Investigate sessions often explore short stories that the Player hauntings, negotiate peace between humans and Characters (PCs) are involved in, much like an tengu, or fight to defeat violent monsters. episode of a television show or a chapter in a book. These sessions can be stand alone adventures, or Mysteries of the Yōkai uses the Tide and Morale combined with previous and following sessions to system to resolve conflicts of all kinds.
    [Show full text]
  • Japanesecostume12guns.Pdf
    -s-t JAPANESE COSTUME BY HELEN C. GUNSAULUS Assistant Curator of Japanese Ethnology WQStTY OF IUR0IS L . MCI 5 1923 FIELD MUSEUM OF NATURAL HISTORY CHICAGO 1923 >7£ VtT3f 7^ Field Museum of Natural History DEPARTMENT OF ANTHROPOLOGY Chicago. 1923 Leaflet Number 12 Japanese Costume Though European influence is strongly marked in many of the costumes seen today in the larger sea- coast cities of Japan, there is fortunately little change to be noted in the dress of the people of the interior, even the old court costumes are worn at a few formal functions and ceremonies in the palace. From the careful scrutinizing of certain prints, particularly those known as surimono, a good idea may be gained of the appearance of all classes of people prior to the in- troduction of foreign civilization. A special selection of these prints (Series II), chosen with this idea in mind, may be viewed each year in Field Museum in Gunsaulus Hall (Room 30, Second Floor) from April 1st to July 1st at which time it is succeeded by another selection. Since surimono were cards of greeting exchanged by the more highly educated classes of Japan, many times the figures portrayed are those known through the history and literature of the country, and as such they show forth the costumes worn by historical char- acters whose lives date back several centuries. Scenes from daily life during the years between 1760 and 1860, that period just preceding the opening up of the coun- try when surimono had their vogue, also decorate these cards and thus depict the garments worn by the great middle class and the military (samurai) class, the ma- jority of whose descendents still cling to the national costume.
    [Show full text]