DOCSLIB.ORG

Enclosed CJK Letters and Months Range: 3200–32FF

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Enclosed CJK Letters and Months Range: 3200–32FF Enclosed CJK Letters and Months Range: 3200–32FF 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. Copying characters from the character code tables or list of character names is not recommended, because for production reasons the PDF files for the code charts cannot guarantee that the correct character codes will always be copied. Fonts The shapes of the reference glyphs used in these code charts are not prescriptive. Considerable variation is to be expected in actual fonts. The particular fonts used in these charts were provided to the Unicode Consortium by a number of different font designers, who own the rights to the fonts. See https://www.unicode.org/charts/fonts.html for a list. Terms of Use You may freely use these code charts for personal or internal business uses only. You may not incorporate them either wholly or in part into any product or publication, or otherwise distribute them without express written permission from the Unicode Consortium. However, you may provide links to these charts. The fonts and font data used in production of these code charts may NOT be extracted, or used in any other way in any product or publication, without permission or license granted by the typeface owner(s). The Unicode Consortium is not liable for errors or omissions in this file or the standard itself. Information on characters added to the Unicode Standard since the publication of the most recent version of the Unicode Standard, as well as on characters currently being considered for addition to the Unicode Standard can be found on the Unicode web site. See https://www.unicode.org/pending/pending.html and https://www.unicode.org/alloc/Pipeline.html. Copyright © 1991-2021 Unicode, Inc. All rights reserved. 3200 Enclosed CJK Letters and Months 32FF 320 321 322 323 324 325 326 327 328 329 32A 32B 32C 32D 32E 32F 0 ㈀ ㈐ ㈠ ㈰ ㉀ ㉐ ㉠ ㉰ ㊀ ㊐ ㊠ ㊰ ㋀ ㋐ ㋠ ㋰ 3200 3210 3220 3230 3240 3250 3260 3270 3280 3290 32A0 32B0 32C0 32D0 32E0 32F0 1 ㈁ ㈑ ㈡ ㈱ ㉁ ㉑ ㉡ ㉱ ㊁ ㊑ ㊡ ㊱ ㋁ ㋑ ㋡ ㋱ 3201 3211 3221 3231 3241 3251 3261 3271 3281 3291 32A1 32B1 32C1 32D1 32E1 32F1 2 ㈂ ㈒ ㈢ ㈲ ㉂ ㉒ ㉢ ㉲ ㊂ ㊒ ㊢ ㊲ ㋂ ㋒ ㋢ ㋲ 3202 3212 3222 3232 3242 3252 3262 3272 3282 3292 32A2 32B2 32C2 32D2 32E2 32F2 3 ㈃ ㈓ ㈣ ㈳ ㉃ ㉓ ㉣ ㉳ ㊃ ㊓ ㊣ ㊳ ㋃ ㋓ ㋣ ㋳ 3203 3213 3223 3233 3243 3253 3263 3273 3283 3293 32A3 32B3 32C3 32D3 32E3 32F3 4 ㈄ ㈔ ㈤ ㈴ ㉄ ㉔ ㉤ ㉴ ㊄ ㊔ ㊤ ㊴ ㋄ ㋔ ㋤ ㋴ 3204 3214 3224 3234 3244 3254 3264 3274 3284 3294 32A4 32B4 32C4 32D4 32E4 32F4 5 ㈅ ㈕ ㈥ ㈵ ㉅ ㉕ ㉥ ㉵ ㊅ ㊕ ㊥ ㊵ ㋅ ㋕ ㋥ ㋵ 3205 3215 3225 3235 3245 3255 3265 3275 3285 3295 32A5 32B5 32C5 32D5 32E5 32F5 6 ㈆ ㈖ ㈦ ㈶ ㉆ ㉖ ㉦ ㉶ ㊆ ㊖ ㊦ ㊶ ㋆ ㋖ ㋦ ㋶ 3206 3216 3226 3236 3246 3256 3266 3276 3286 3296 32A6 32B6 32C6 32D6 32E6 32F6 7 ㈇ ㈗ ㈧ ㈷ ㉇ ㉗ ㉧ ㉷ ㊇ ㊗ ㊧ ㊷ ㋇ ㋗ ㋧ ㋷ 3207 3217 3227 3237 3247 3257 3267 3277 3287 3297 32A7 32B7 32C7 32D7 32E7 32F7 8 ㈈ ㈘ ㈨ ㈸ ㉈ ㉘ ㉨ ㉸ ㊈ ㊘ ㊨ ㊸ ㋈ ㋘ ㋨ ㋸ 3208 3218 3228 3238 3248 3258 3268 3278 3288 3298 32A8 32B8 32C8 32D8 32E8 32F8 9 ㈉ ㈙ ㈩ ㈹ ㉉ ㉙ ㉩ ㉹ ㊉ ㊙ ㊩ ㊹ ㋉ ㋙ ㋩ ㋹ 3209 3219 3229 3239 3249 3259 3269 3279 3289 3299 32A9 32B9 32C9 32D9 32E9 32F9 A ㈊ ㈚ ㈪ ㈺ ㉊ ㉚ ㉪ ㉺ ㊊ ㊚ ㊪ ㊺ ㋊ ㋚ ㋪ ㋺ 320A 321A 322A 323A 324A 325A 326A 327A 328A 329A 32AA 32BA 32CA 32DA 32EA 32FA B ㈋ ㈛ ㈫ ㈻ ㉋ ㉛ ㉫ ㉻ ㊋ ㊛ ㊫ ㊻ ㋋ ㋛ ㋫ ㋻ 320B 321B 322B 323B 324B 325B 326B 327B 328B 329B 32AB 32BB 32CB 32DB 32EB 32FB C ㈌ ㈜ ㈬ ㈼ ㉌ ㉜ ㉬ ㉼ ㊌ ㊜ ㊬ ㊼ ㋌ ㋜ ㋬ ㋼ 320C 321C 322C 323C 324C 325C 326C 327C 328C 329C 32AC 32BC 32CC 32DC 32EC 32FC D ㈍ ㈝ ㈭ ㈽ ㉍ ㉝ ㉭ ㉽ ㊍ ㊝ ㊭ ㊽ ㋍ ㋝ ㋭ ㋽ 320D 321D 322D 323D 324D 325D 326D 327D 328D 329D 32AD 32BD 32CD 32DD 32ED 32FD E ㈎ ㈞ ㈮ ㈾ ㉎ ㉞ ㉮ ㉾ ㊎ ㊞ ㊮ ㊾ ㋎ ㋞ ㋮ ㋾ 320E 321E 322E 323E 324E 325E 326E 327E 328E 329E 32AE 32BE 32CE 32DE 32EE 32FE F ㈏ ㈯ ㈿ ㉏ ㉟ ㉯ ㉿ ㊏ ㊟ ㊯ ㊿ ㋏ ㋟ ㋯ ㋿ 320F 322F 323F 324F 325F 326F 327F 328F 329F 32AF 32BF 32CF 32DF 32EF 32FF The Unicode Standard 14.0, Copyright © 1991-2021 Unicode, Inc. All rights reserved. 3200 Enclosed CJK Letters and Months 3234 Parenthesized Hangul letters Parenthesized Korean words 3200 ㈀ PARENTHESIZED HANGUL KIYEOK 321D ㈝ PARENTHESIZED KOREAN CHARACTER OJEON ≈ 0028 ( 1100 ᄀ 0029 ) ≈ 0028 ( 110B ᄋ 1169 ᅩ 110C ᄌ 1165 ᅥ 3201 ㈁ PARENTHESIZED HANGUL NIEUN 11AB ᆫ 0029 ) PARENTHESIZED KOREAN CHARACTER O HU ≈ 0028 ( 1102 ᄂ 0029 ) 321E ㈞ 3202 ㈂ PARENTHESIZED HANGUL TIKEUT • preferred spelling for the name is ohu ≈ 0028 ( 1103 ᄃ 0029 ) ≈ 0028 ( 110B ᄋ 1169 ᅩ 1112 ᄒ 116E ᅮ 3203 ㈃ PARENTHESIZED HANGUL RIEUL 0029 ) ≈ 0028 ( 1105 ᄅ 0029 ) Parenthesized ideographs PARENTHESIZED HANGUL MIEUM 3204 ㈄ 3220 ㈠ PARENTHESIZED IDEOGRAPH ONE ≈ 0028 ( 1106 ᄆ 0029 ) 0028 ( 4E00 一 0029 ) PARENTHESIZED HANGUL PIEUP ≈ 3205 ㈅ 3221 ㈡ PARENTHESIZED IDEOGRAPH TWO ≈ 0028 ( 1107 ᄇ 0029 ) ( 二 ) PARENTHESIZED HANGUL SIOS ≈ 0028 4E8C 0029 3206 ㈆ 3222 ㈢ PARENTHESIZED IDEOGRAPH THREE ≈ 0028 ( 1109 ᄉ 0029 ) ( 三 ) PARENTHESIZED HANGUL IEUNG ≈ 0028 4E09 0029 3207 ㈇ 3223 ㈣ PARENTHESIZED IDEOGRAPH FOUR ≈ 0028 ( 110B ᄋ 0029 ) 0028 ( 56DB 四 0029 ) PARENTHESIZED HANGUL CIEUC ≈ 3208 ㈈ 3224 ㈤ PARENTHESIZED IDEOGRAPH FIVE ≈ 0028 ( 110C ᄌ 0029 ) ( 五 ) PARENTHESIZED HANGUL CHIEUCH ≈ 0028 4E94 0029 3209 ㈉ 3225 ㈥ PARENTHESIZED IDEOGRAPH SIX ≈ 0028 ( 110E ᄎ 0029 ) ( 六 ) PARENTHESIZED HANGUL KHIEUKH ≈ 0028 516D 0029 320A ㈊ 3226 ㈦ PARENTHESIZED IDEOGRAPH SEVEN ≈ 0028 ( 110F ᄏ 0029 ) 0028 ( 4E03 七 0029 ) PARENTHESIZED HANGUL THIEUTH ≈ 320B ㈋ 3227 ㈧ PARENTHESIZED IDEOGRAPH EIGHT ≈ 0028 ( 1110 ᄐ 0029 ) ( 八 ) PARENTHESIZED HANGUL PHIEUPH ≈ 0028 516B 0029 320C ㈌ 3228 ㈨ PARENTHESIZED IDEOGRAPH NINE ≈ 0028 ( 1111 ᄑ 0029 ) ( 九 ) PARENTHESIZED HANGUL HIEUH ≈ 0028 4E5D 0029 320D ㈍ 3229 ㈩ PARENTHESIZED IDEOGRAPH TEN 0028 ( 1112 ᄒ 0029 ) ≈ ≈ 0028 ( 5341 十 0029 ) Parenthesized Hangul syllables 322A ㈪ PARENTHESIZED IDEOGRAPH MOON 320E ㈎ PARENTHESIZED HANGUL KIYEOK A • Monday ≈ 0028 ( 1100 ᄀ 1161 ᅡ 0029 ) ≈ 0028 ( 6708 月 0029 ) 320F ㈏ PARENTHESIZED HANGUL NIEUN A 322B ㈫ PARENTHESIZED IDEOGRAPH FIRE ≈ 0028 ( 1102 ᄂ 1161 ᅡ 0029 ) • Tuesday 3210 ㈐ PARENTHESIZED HANGUL TIKEUT A ≈ 0028 ( 706B 火 0029 ) PARENTHESIZED IDEOGRAPH WATER ≈ 0028 ( 1103 ᄃ 1161 ᅡ 0029 ) 322C ㈬ 3211 ㈑ PARENTHESIZED HANGUL RIEUL A • Wednesday 水 ≈ 0028 ( 1105 ᄅ 1161 ᅡ 0029 ) ≈ 0028 ( 6C34 0029 ) 3212 ㈒ PARENTHESIZED HANGUL MIEUM A 322D ㈭ PARENTHESIZED IDEOGRAPH WOOD ≈ 0028 ( 1106 ᄆ 1161 ᅡ 0029 ) • Thursday 3213 ㈓ PARENTHESIZED HANGUL PIEUP A ≈ 0028 ( 6728 木 0029 ) PARENTHESIZED IDEOGRAPH METAL ≈ 0028 ( 1107 ᄇ 1161 ᅡ 0029 ) 322E ㈮ 3214 ㈔ PARENTHESIZED HANGUL SIOS A • Friday 金 ≈ 0028 ( 1109 ᄉ 1161 ᅡ 0029 ) ≈ 0028 ( 91D1 0029 ) 3215 ㈕ PARENTHESIZED HANGUL IEUNG A 322F ㈯ PARENTHESIZED IDEOGRAPH EARTH ≈ 0028 ( 110B ᄋ 1161 ᅡ 0029 ) • Saturday 3216 ㈖ PARENTHESIZED HANGUL CIEUC A ≈ 0028 ( 571F 土 0029 ) 3230 PARENTHESIZED IDEOGRAPH SUN ≈ 0028 ( 110C ᄌ 1161 ᅡ 0029 ) ㈰ 3217 ㈗ PARENTHESIZED HANGUL CHIEUCH A • Sunday 日 ≈ 0028 ( 110E ᄎ 1161 ᅡ 0029 ) ≈ 0028 ( 65E5 0029 ) 3218 ㈘ PARENTHESIZED HANGUL KHIEUKH A 3231 ㈱ PARENTHESIZED IDEOGRAPH STOCK incorporated ≈ 0028 ( 110F ᄏ 1161 ᅡ 0029 ) • 3219 ㈙ PARENTHESIZED HANGUL THIEUTH A ≈ 0028 ( 682A 株 0029 ) 3232 PARENTHESIZED IDEOGRAPH HAVE ≈ 0028 ( 1110 ᄐ 1161 ᅡ 0029 ) ㈲ 321A ㈚ PARENTHESIZED HANGUL PHIEUPH A • limited 0028 ( 1111 ᄑ 1161 ᅡ 0029 ) ≈ 0028 ( 6709 有 0029 ) ≈ PARENTHESIZED IDEOGRAPH SOCIETY 321B ㈛ PARENTHESIZED HANGUL HIEUH A 3233 ㈳ company ≈ 0028 ( 1112 ᄒ 1161 ᅡ 0029 ) • 321C ㈜ PARENTHESIZED HANGUL CIEUC U ≈ 0028 ( 793E 社 0029 ) 3234 PARENTHESIZED IDEOGRAPH NAME ≈ 0028 ( 110C ᄌ 116E ᅮ 0029 ) ㈴ ≈ 0028 ( 540D 名 0029 ) The Unicode Standard 14.0, Copyright © 1991-2021 Unicode, Inc. All rights reserved. 3235 Enclosed CJK Letters and Months 326C 3235 ㈵ PARENTHESIZED IDEOGRAPH SPECIAL Squared Latin abbreviation ≈ 0028 ( 7279 特 0029 ) 3250 ㉐ PARTNERSHIP SIGN PARENTHESIZED IDEOGRAPH FINANCIAL 3236 ㈶ ≈ <square> 0050 P 0054 T 0045 E 0028 ( 8CA1 財 0029 ) ≈ Circled numbers 3237 ㈷ PARENTHESIZED IDEOGRAPH CONGRATULATION 3251 ㉑ CIRCLED NUMBER TWENTY ONE ≈ 0028 ( 795D 祝 0029 ) ≈ <circle> 0032 2 0031 1 3238 ㈸ PARENTHESIZED IDEOGRAPH LABOR 3252 ㉒ CIRCLED NUMBER TWENTY TWO ≈ 0028 ( 52B4 労 0029 ) ≈ <circle> 0032 2 0032 2 3239 ㈹ PARENTHESIZED IDEOGRAPH REPRESENT 3253 ㉓ CIRCLED NUMBER TWENTY THREE ≈ 0028 ( 4EE3 代 0029 ) ≈ <circle> 0032 2 0033 3 323A ㈺ PARENTHESIZED IDEOGRAPH CALL 3254 ㉔ CIRCLED NUMBER TWENTY FOUR ≈ 0028 ( 547C 呼 0029 ) ≈ <circle> 0032 2 0034 4 323B ㈻ PARENTHESIZED
Load more

Recommended publications
  • ALTEC Language Class: Japanese Beginning II
    ALTEC Language Class: Japanese Beginning II Class duration: 10 weeks, January 28–April 7, 2020 (no class March 24) Class meetings: Tuesdays at 5:30pm–7:30pm in Hellems 145 Instructor: Megan Husby, [email protected] Class session Resources before coming to Practice exercises after Communicative goals Grammar Vocabulary & topic class class Talking about things that you Verb Conjugation: Past tense Review of Hiragana Intro and あ column Fun Hiragana app for did in the past of long (polite) forms Japanese your Phone (~desu and ~masu verbs) Writing Hiragana か column Talking about your winter System: Hiragana song break Hiragana Hiragana さ column (Recognition) Hiragana Practice クリスマス・ハヌカー・お Hiragana た column Worksheet しょうがつ 正月はなにをしましたか。 Winter Sports どこにいきましたか。 Hiragana な column Grammar Review なにをたべましたか。 New Year’s (Listening) プレゼントをかいましたか/ Vocab Hiragana は column もらいましたか。 Genki I pg. 110 スポーツをしましたか。 Hiragana ま column だれにあいましたか。 Practice Quiz Week 1, えいがをみましたか。 Hiragana や column Jan. 28 ほんをよみましたか。 Omake (bonus): Kasajizō: うたをききましたか/ Hiragana ら column A Folk Tale うたいましたか。 Hiragana わ column Particle と Genki: An Integrated Course in Japanese New Year (Greetings, Elementary Japanese pgs. 24-31 Activities, Foods, Zodiac) (“Japanese Writing System”) Particle と Past Tense of desu (Affirmative) Past Tense of desu (Negative) Past Tense of Verbs Discussing family, pets, objects, Verbs for being (aru and iru) Review of Katakana Intro and ア column Katakana Practice possessions, etc. Japanese Worksheet Counters for people, animals, Writing Katakana カ column etc. System: Genki I pgs. 107-108 Katakana Katakana サ column (Recognition) Practice Quiz Katakana タ column Counters Katakana ナ column Furniture and common Katakana ハ column household items Katakana マ column Katakana ヤ column Katakana ラ column Week 2, Feb.
    [Show full text]
  • The Degree of the Speaker's Negative Attitude in a Goal-Shifting
    In Christopher Brown and Qianping Gu and Cornelia Loos and Jason Mielens and Grace Neveu (eds.), Proceedings of the 15th Texas Linguistics Society Conference, 150-169. 2015. The degree of the speaker’s negative attitude in a goal-shifting comparison Osamu Sawada∗ Mie University [email protected] Abstract The Japanese comparative expression sore-yori ‘than it’ can be used for shifting the goal of a conversation. What is interesting about goal-shifting via sore-yori is that, un- like ordinary goal-shifting with expressions like tokorode ‘by the way,’ using sore-yori often signals the speaker’s negative attitude toward the addressee. In this paper, I will investigate the meaning and use of goal-shifting comparison and consider the mecha- nism by which the speaker’s emotion is expressed. I will claim that the meaning of the pragmatic sore-yori conventionally implicates that the at-issue utterance is preferable to the previous utterance (cf. metalinguistic comparison (e.g. (Giannakidou & Yoon 2011))) and that the meaning of goal-shifting is derived if the goal associated with the at-issue utterance is considered irrelevant to the goal associated with the previous utterance. Moreover, I will argue that the speaker’s negative attitude is shown by the competition between the speaker’s goal and the hearer’s goal, and a strong negativity emerges if the goals are assumed to be not shared. I will also compare sore-yori to sonna koto-yori ‘than such a thing’ and show that sonna koto-yori directly expresses a strong negative attitude toward the previous utterance.
    [Show full text]
  • 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.
    [Show full text]
  • A Performer's Guide to Minoru Miki's Sohmon III for Soprano, Marimba and Piano (1988)
    University of Cincinnati Date: 4/22/2011 I, Margaret T Ozaki-Graves , hereby submit this original work as part of the requirements for the degree of Doctor of Musical Arts in Voice. It is entitled: A Performer’s Guide to Minoru Miki’s _Sohmon III for Soprano, Marimba and Piano_ (1988) Student's name: Margaret T Ozaki-Graves This work and its defense approved by: Committee chair: Jeongwon Joe, PhD Committee member: William McGraw, MM Committee member: Barbara Paver, MM 1581 Last Printed:4/29/2011 Document Of Defense Form A Performer’s Guide to Minoru Miki’s Sohmon III for Soprano, Marimba and Piano (1988) A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by Margaret Ozaki-Graves B.M., Lawrence University, 2003 M.M., University of Cincinnati, 2007 April 22, 2011 Committee Chair: Jeongwon Joe, Ph.D. ABSTRACT Japanese composer Minoru Miki (b. 1930) uses his music as a vehicle to promote cross- cultural awareness and world peace, while displaying a self-proclaimed preoccupation with ethnic mixture, which he calls konketsu. This document intends to be a performance guide to Miki’s Sohmon III: for Soprano, Marimba and Piano (1988). The first chapter provides an introduction to the composer and his work. It also introduces methods of intercultural and artistic borrowing in the Japanese arts, and it defines the four basic principles of Japanese aesthetics. The second chapter focuses on the interpretation and pronunciation of Sohmon III’s song text.
    [Show full text]
  • Section 18.1, Han
    The Unicode® Standard Version 13.0 – Core Specification To learn about the latest version of the Unicode Standard, see http://www.unicode.org/versions/latest/. Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trade- mark claim, the designations have been printed with initial capital letters or in all capitals. Unicode and the Unicode Logo are registered trademarks of Unicode, Inc., in the United States and other countries. The authors and publisher have taken care in the preparation of this specification, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The Unicode Character Database and other files are provided as-is by Unicode, Inc. No claims are made as to fitness for any particular purpose. No warranties of any kind are expressed or implied. The recipient agrees to determine applicability of information provided. © 2020 Unicode, Inc. All rights reserved. This publication is protected by copyright, and permission must be obtained from the publisher prior to any prohibited reproduction. For information regarding permissions, inquire at http://www.unicode.org/reporting.html. For information about the Unicode terms of use, please see http://www.unicode.org/copyright.html. The Unicode Standard / the Unicode Consortium; edited by the Unicode Consortium. — Version 13.0. Includes index. ISBN 978-1-936213-26-9 (http://www.unicode.org/versions/Unicode13.0.0/) 1.
    [Show full text]
  • The Japanese Numeral Classifiers Hiki and Hatsu
    Prototypes and Metaphorical Extensions: The Japanese Numeral Classifiers hiki and hatsu Hiroko Komatsu A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy January 2018 Department of Japanese Studies School of Languages and Cultures Faculty of Arts and Social Sciences The University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Name: Hiroko Komatsu Signature: ……………………….. Date: ……..31 January 2018……. Abstract This study concerns the meaning of Japanese numeral classifiers (NCs) and, particularly, the elements which guide us to understand the metaphorical meanings they can convey. In the typological literature, as well as in studies of Japanese, the focus is almost entirely on NCs that refer to entities. NCs are generally characterised as being matched with a noun primarily based on semantic criteria such as the animacy, the physical characteristics, or the function of the referent concerned. However, in some languages, including Japanese, nouns allow a number of alternative NCs, so that it is considered that NCs are not automatically matched with a noun but rather with the referent that the noun refers to in the particular context in which it occurs. This study examines data from the Balanced Corpus of Contemporary Written Japanese, and focuses on two NCs as case studies: hiki, an entity NC, typically used to classify small, animate beings, and hatsu, an NC that is used to classify both entities and events that are typically explosive in nature.
    [Show full text]
  • Hasegawasoliloquych2.Pdf
    ne yo Sentence-final particles ne yo ne Yo ne yo ne yo ne yo ne yo ne ne yo ne yo Yoku furu ne/yo. Ne yo ne ne yo yo yo ne ne yo yo ne yo Sonna koto wa atarimae da ne/yo. Kimi no imooto-san, uta ga umai ne. ne Kushiro wa samui yo. Kyoo wa kinyoobi desu ne. ne ne Ne Ee, soo desu. Ii tenki da nee. Kyoo wa kinyoobi desu ne. ne Soo desu ne. Yatto isshuukan owarimashita ne. ne ne yo Juubun ja nai desu ka. Watashi to shite wa, mitomeraremasen ne. Chotto yuubinkyoku e itte kimasu ne. Ee, boku wa rikugun no shichootai, ima no yusoobutai da. Ashita wa hareru deshoo nee. shichootai yusoobutai Koshiji-san wa meshiagaru no mo osuki ne. ne affective common ground ne Daisuki. Oshokuji no toki ni mama shikaritaku nai kedo nee. Hitoshi no sono tabekata ni wa moo Denwa desu kedo/yo. ne yo yone Ashita irasshaimasu ka/ne. yo yone ne yo the coordination of dialogue ne Yo ne A soonan desu ka. Soo yo. Ikebe-san wa rikugun nandesu yone. ne yo ne yo ne yo ne Ja, kono zasshi o yonde-miyoo. Yo Kore itsu no zasshi daroo. A, nihon no anime da. procedural encoding anime ne yo A, kono Tooshiba no soojiki shitteru. Hanasu koto ga nakunatchatta. A, jisho wa okutta. Kono hon zuibun furui. Kyoo wa suupaa ni ikanakute ii. ka Kore mo tabemono. wa Dansu kurabu ja nakute shiataa. wa↓ wa wa↑ na Shikakui kuruma-tte suki janai.
    [Show full text]
  • IEEE 802.1 Interim Meeting Hiroshima, Japan January 2019
    IEEE 802.1 Interim Meeting Hiroshima, Japan January 2019 1 Event Meeting dates January 14, 2019-January 18, 2019 Venue and location Hiroshima Oriental Hotel in Hiroshima 6-10, Tanakamachi, Naka-ku, Hiroshima, Japan 730-0026 http://oriental-hiroshima-jp.book.direct/en-gb Booked rooms are available on September 19, 2018(JST). https://asp.hotel-story.ne.jp/ver3d/plan.asp?p=A2ONG&c1=64101&c2=001 Please note: Check in starts from 2:00 p.m.. On your day of departure, you have time to leave your room until 11:00 a.m.. Early check-in and late check-out costs a thousand yen per. 2 Meeting registration Registration has to be done via website : https://www.regonline.com/builder/site/?eventid=2235732 Registration Fees - Early bird registration USD 700 Open on September 19 until November 16, 2018(PST) - Standard registration USD 800 From November 17, 2018 to January 4, 2019(PST) - Late/on Site registration USD 900 Open after January 4, 2019 to January 18, 2019(PST) The registration fee covers meeting fee, refreshments, coffee breaks, lunch, social event and Wi-Fi. Note: The registration fee includes VAT. Fee will be independent from staying at the meeting hotel. Registration payment policy Registration is payable through a secure website and requires a valid credit card for the payment of the registration fee; cash and checks are NOT accepted for registration. Any individual who attends any part of the IEEE 802.1 Interim Meeting must register and pay the full session fee. Session registrations are not transferable to another individual or to another interim session.
    [Show full text]
  • A Translation-Study of the Kana Shôri
    A Translation-Study of the Kana shōri John Allen Tucker East Carolina University The Kana shōri 假名性理 (Neo-Confucian Terms for Japanese) is one of the most philosophically packed and yet historically puzzling texts of early seventeenth-century Tokugawa Japan (1600-1868). Philosophically, it is noteworthy for at least four reasons, all having to do with its advocacy of Neo-Confucian and Shinto views rather than those of Buddhism. First, the Kana shōri’s emphasis on the inversion of excess in history differed with understandings of time based on the Buddhist teachings of karma and reincarnation.1 Second, the Kana shōri’s paternalistic political views, stressing the crucial nature of a ruler’s parental concern for the people, contrasted with the predominantly medieval stress on propagating the Buddhist dharma for the sake of securing stable, religiously sanctioned rule defended by heavenly guardian kings.2 Third, the Kana shōri’s syncretic accounts of Neo- Confucianism and Shinto, emphasizing the common relevance of notions such as the way of heaven (tendō 天道); reverence (kei 敬); the learning of the mind (shingaku 心學); the transmission of the way (dōtō 道統); the five relationships (gorin 五倫); and the “sixteen- word teaching” (jūrokuji 十六字), contrasted with earlier syncretic formulations favored by medieval Zen theorists.3 Finally, to the extent that the Kana shōri was syncretic, it was so in 1 One of the classic statements of Buddhist historiography is Jien’s 慈圓 Gukanshō 愚菅抄 (1219), which periodizes Japanese history according to the supposed rise and fall of the Buddha’s teachings. For a brief discussion of it, see John S.
    [Show full text]
  • Poetry: the Language of Love in Tale of Genji
    Poetry: The Language of Love in Tale of Genji YANPING WANG This article examines the poetic love presented by waka poetry in the Tale of Genji. Waka poetry comprises the thematic frame of Tale of Genji. It is the language of love. Through observation of metaphors in the waka poems in this article, we can grasp the essence of the poetics of love in the Genji. Unlike the colors of any heroes’ and heroines’ love in other literary works, Genji’s love is poetic multi-color, which makes him a mythopoetic romantic hero in Japanese culture. Love in Heian aristocracy is sketched as consisting of an elaborate code of courtship which is very strict in its rules of communion by poetry. Love is a romantic adventure without compromise and bondage of morality. The love adventure of Genji and other heroes involves not only aesthetic Bildung and political struggle but also poetic production and metaphorical transformation. The acceptance of the lover’s poetic courtship creates an artistic and romantic air to the relations between men and women. Love and desire are accompanied by a ritual of elegance, grace and a refined cult of poetic beauty. There are 795 poems (waka) in the Genji. They are used in the world of the Genji as a medium of interpersonal communication, as a means to express individual emotions and feelings, as an artistic narrative to poeticize the romance and as an artistic form to explore the internal life of the characters.1 Nearly 80 percent (624) of these 795 poems are exchanges (zotoka), 107 are solo recitals and 64 are occasional poems.2
    [Show full text]
  • The ALA-LC Japanese Romanization Table
    Japanese The ALA-LC Japanese Romanization Table Revision Proposal March 30, 2018 Created by CTP/CJM Joint Working Group on the ALA-LC Japanese Romanization Table (JRTWG) JRTWG is part of: Association of Asian Studies (AAS) Council on East Asian Libraries (CEAL) Committee on Technical Processing (CTP) and Committee on Japanese Materials (CJM) JRTWG Co-Chairs: Yukari Sugiyama (Yale University) Chiharu Watsky (Princeton University) Members of JRTWG: Rob Britt (University of Washington) Ryuta Komaki (Washington University) Fabiano Rocha (University of Toronto) Chiaki Sakai (The Japan Foundation Japanese-Language Institute, Urawa) Keiko Suzuki (The New School) [Served as Co-Chair from April to September 2016] Koji Takeuchi (Library of Congress) Table of Contents Romanization Table…………………………………………………………………………………….Pages 1-28 1. Introduction……………………………………………………………………………………Page 1 2. Basic Principles for Romanization……………………………………………………Page 1 3. Capitalization………………………………………………………………………………….Page 5 4. Japanese Punctuation and Typographical Marks…………………………….Page 8 5. Diacritic Marks and Other Symbols Used in Romanization………………Page 9 6. Word Division………………………………………………………………………………….Page 11 7. Numerals…………………………………………………………………………………………Page 25 Romanized/Kana Equivalent Charts…………………………………………………..…..…….Pages 29-30 Helpful References…………………………………………………………………………………....…Page 31 Last Updated: 3/30/2018 10:48 AM 1 Introduction: Scope of the Romanization Table Romanization is one type of transliteration. Transliteration is the process of converting text written
    [Show full text]
  • Article Full Text
    EARLY MODERN JAPAN 2012 “A Land Blessed by Word Spirit”: will begin with an overview of the ancient back- ground of kotodama, but will concentrate mainly Kamochi Masazumi and Early on its revival and development in the thought of Modern Constructs of Kotodama several early modern figures, particularly in the © Roger K. Thomas, Illinois State University writings of Kamochi Masazumi 鹿持雅澄 (1791- 1858), a Tosa scholar whose theories about lan- Attitudes toward language—whether native or guage are a broad synthesis of much earlier foreign tongues—often provide keys to a people’s thought, both nativist and Confucian, and whose intellectual history. From the perspective of Eu- prodigious corpus of writings exhibit a wide- ropean cultural history, Umberto Eco claims in his ranging awareness of and interaction with contem- The Search for the Perfect Language that many porary intellectual activity in many parts of the scholarly fruits of modernism—ranging “from tax- country. Moreover, he is a foremost example of onomy in the natural sciences to comparative lin- the Bakumatsu momentum toward ruralization of guistics, from formal languages to artificial intelli- scholarship and the arts.4 In terms of the present gence and to the cognitive sciences”—were born as discussion, his views on kotodama may be seen as “side effects” of this very search.1 A quest for the an illustrative summation of much that had gone perfect language is also observable in Japan, where before, and our investigation must begin with an it has often been associated with kotodama (literal- examination of these precedents. In conclusion, ly “word spirit”), a concept of ancient vintage that some possible reasons will be suggested for the was resuscitated and variously interpreted during enthusiasm with which this ancient belief was revi- the early modern period.
    [Show full text]