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A Study of Proposition and Modality Focusing on Epistemic Modals in the Japanese Language
A Study of Proposition and Modality Focusing on Epistemic Modals in the Japanese Language Kazuyuki Matsushita A thesis submitted for the degree of Doctor of Philosophy of the Australian National University March 2006 Declaration Except where it is otherwise acknowledged in the text, this thesis is entirely my own work Kazuyuki Matsushita March, 2006 Acknowledgements I would like to express my deepest thanks to my supervisor Dr. Peter Hendriks. He has given precious advice, and encouragement throughout my candidature. In particular, he has provided me with suitable terms to solve semantic gaps between English and Japanese. I am grateful for the time he has spent on my behalf. I wish to thank my associate supervisor Dr. Nicolette Bramley of the University of Canberra, who has provided excellent advice and criticism to improve my draft. I could not have done without Dr. Gail Craswell, at the Academic Skills and Learning Centre, who reviewed my thesis and made significant comments on my drafts. I am also grateful to Dr. Meredith McKinney, who has carefully proofread my draft. I would like to thank Prof. Junsaku Fundō and the late Prof. Kazuo Suzuki, who have given me encouragement to continue my studies since I studied at Tokyo Kyōiku University. Finally, I want to express my gratitude to my wife Sachiko, who read my draft conscientiously, pointed out inappropriate examples, and has supported me through hard times and good times. Canberra, Australia March 2006 Kazuyuki Matsushita ii Abstract This study discusses proposition and modality in the Japanese language, focusing on epistemic modals. In the literature of modality recently, detailed discussions of individual modals have been made to clarify their function. -
D"Fj Japanesepodlol.Com
d"fJ JapanesePodlOl.com innoVative LANGUAGE.COM LESSON NOTES Beginner S5 #1 It's Always Sunny in Japan CONTENTS 2 Kanji 2 Kana 3 Romanization 4 English 4 Vocabulary 5 Sample Sentences 6 Grammar # 1 COPYRIGHT © 2013 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. KANJI 1. (TV Station) 2. 男: 五秒前、四、三、二、一 3. 遠井 歩: みなさん、おはようございます。遠井歩(とおいあゆむ)の天気予 報の時間です。 今日、東京は とても寒くなるでしょう。天気は晴れ のち くもりでし ょう。 朝は 晴れますが、午後から くもるでしょう。夕方からは 雨でしょ う。 ところによって 雪が 降るかもしれません。 外出の時、暖かいコートと 傘を 忘れないでくださいね。 それでは、みなさん今日も 頑張りましょう。 4. 男: はい!カット!オッケイです。遠井さん、お疲れ様でした。 5. 遠井 歩: ふー。お疲れ様です。 KANA 1. (TV Station) 2. おとこ: ごびょうまえ、よん、さん、に、いち CONT'D OVER JAPANESEPOD101.COM BEGINNER S5 #1 - IT'S ALWAYS SUNNY IN JAPAN 2 3. とおい あゆむ: みなさん、おはようございます。とおい あゆむの てんきよほうの じかんです。 きょう、とうきょうは とてもさむくなるでしょう。てんきは はれ の ち くもりでしょう。 あさは はれますが、ごごから くもるでしょう。ゆうがたからは あめ でしょう。 ところによって ゆきが ふるかもしれません。 がいしゅつのとき、あたたかいコートと かさを わすれないでくださ いね。 それでは、みなさん きょうも がんばりましょう。 4. おとこ: はい!カット!オッケイです。とおいさん、おつかれさまでした。 5. とおい あゆむ: ふー。おつかれさまです。 ROMANIZATION 1. (TV Station) 2. OTOKO: Go byō mae, yon, san, ni, ichi... 3. TŌI AYUMU: Mina-san, ohayō gozaimasu. Tōi Ayumu no tenkiyohō no jikan desu. Kyō, Tōkyō wa totemo samuku naru deshō. Tenki wa hare nochi kumori deshō. Asa wa hare masu ga, gogo kara kumoru deshō. Yūgata kara wa ame deshō. Tokoro niyotte yuki ga furu kamo shiremasen. Gaishutsu no toki, atatakai kōto to kasa o wasurenaide kudasai ne. Sore dewa, mina-san kyō mo ganbarimashō. 4. OTOKO: Hai! Katto! Okkei desu. Tōi-san, o-tsukare-sama deshita. -
Anime/Games/J-Pop/J-Rock/Vocaloid
Anime/Games/J-Pop/J-Rock/Vocaloid Deutsch Alice Im Wunderland Opening Anne mit den roten Haaren Opening Attack On Titans So Ist Es Immer Beyblade Opening Biene Maja Opening Catpain Harlock Opening Card Captor Sakura Ending Chibi Maruko-Chan Opening Cutie Honey Opening Detektiv Conan OP 7 - Die Zeit steht still Detektiv Conan OP 8 - Ich Kann Nichts Dagegen Tun Detektiv Conan Opening 1 - 100 Jahre Geh'n Vorbei Detektiv Conan Opening 2 - Laufe Durch Die Zeit Detektiv Conan Opening 3 - Mit Aller Kraft Detektiv Conan Opening 4 - Mein Geheimnis Detektiv Conan Opening 5 - Die Liebe Kann Nicht Warten Die Tollen Fussball-Stars (Tsubasa) Opening Digimon Adventure Opening - Leb' Deinen Traum Digimon Adventure Opening - Leb' Deinen Traum (Instrumental) Digimon Adventure Wir Werden Siegen (Instrumental) Digimon Adventure 02 Opening - Ich Werde Da Sein Digimon Adventure 02 Opening - Ich Werde Da Sein (Insttrumental) Digimon Frontier Die Hyper Spirit Digitation (Instrumental) Digimon Frontier Opening - Wenn das Feuer In Dir Brennt Digimon Frontier Opening - Wenn das Feuer In Dir Brennt (Instrumental) (Lange Version) Digimon Frontier Wenn Du Willst (Instrumental) Digimon Tamers Eine Vision (Instrumental) Digimon Tamers Ending - Neuer Morgen Digimon Tamers Neuer Morgen (Instrumental) Digimon Tamers Opening - Der Grösste Träumer Digimon Tamers Opening - Der Grösste Träumer (Instrumental) Digimon Tamers Regenbogen Digimon Tamers Regenbogen (Instrumental) Digimon Tamers Sei Frei (Instrumental) Digimon Tamers Spiel Dein Spiel (Instrumental) DoReMi Ending Doremi -
Tin £415 14-4^
Tin £415 14-4^ Jr THE LIFE AND WORK OF KOBAYASHI ISSA. Patrick McElligott. Ph.D. Japanese. ProQuest Number: 11010599 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11010599 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Patrick McElligott. "The Life and Work of Kobayashi Issa., Abstract. This thesis consists of three chapters. Chapter one is a detailed account of the life of Kobayashi Issa. It is divided into the following sections; 1. Background and Early Childhood. 2. Early Years in Edo. 3. His First Return to Kashiwabara. ,4. His Jiourney into Western Japan. 5. The Death of His Father. 6 . Life im and Around Edo. 1801-1813. 7. Life as a Poet in Shinano. 8 . Family Life in Kashiwabara.. 9* Conclusion. Haiku verses and prose pieces are introduced in this chapter for the purpose of illustrating statements made concerning his life. The second chapter traces the development of Issa*s style of haiku. It is divided into five sections which correspond to the.Japanese year periods in which Issa lived. -
家族 かぞく Kazoku Aile 家族関係 かぞくかんけい Kazoku Kankei
YAŞAM AİLE 家族 かぞく kazoku aile 家族関係 かぞくかんけい kazoku kankei aile ilişkileri 人 ひと hito insan 人間 にんげん ningen insan 人類 じんるい jinrui ırk 男 おとこ otoko erkek 男性 だんせい dansei erkek, adam 女 おんな onna kadın, bayan, hanım; kız 女性 じょせい josei kadın, hanım 婦人 ふじん fujin kadın, hanım, bayan 紳士 しんし shinshi beyefendi, centilmen, efendi adam 淑女 しゅくじょ shukujo hanımefendi 男の子 おとこのこ otoko no ko erkek çocuk 女の子 おんなのこ onna no ko kız çocuk 家庭 かてい katei aile, aile halkı, ev, yuva 親戚 しんせき shinseki akraba 親類 しんるい shinrui akraba 先祖 せんぞ senzo ata, cet, soy sop 親 おや oya ebeveyn, anne baba 両親 りょうしん ryooshin ana baba, ebeveyn 父母 ふぼ fubo baba ve anne 父 ちち chichi baba (kendi) 母 はは haha anne (kendi) お父さん おとうさん otoosan baba お母さん おかあさん okaasan anne, ana おやじ おやじ oyaji baba (konuşma dili) おふくろ おふくろ ofukuro baba (konuşma dili, erkek konuşması) 子供 こども kodomo çocuk 息子 むすこ musuko oğul, erkek çocuk 娘 むすめ musume kız evlât; genç kız 坊ちゃん ぼっちゃん botchan oğlu, oğlun, oğlunuz お嬢 ちゃん おじょうちゃん ojoochan küçük kız / kız evlat お嬢 さん おじょうさん ojoosan kızınız, kızı; genç kız 長男 ちょうなん choonan en büyük erkek evlât / oğlan 長女 ちょうじょ choojo en büyük kız evlât 次男 じなん jinan ikinci oğul 次女 じじょ jijo ikinci kız 兄 あに ani büyük erkek kardeş, ağabey (kendi) 兄貴 あにき aniki ağabey 姉 あね ane büyük kız kardeş, abla (kendi) お兄さん おにいさん oniisan ağabey お姉さん おねえさん oneesan abla 弟 おとうと otooto erkek kardeş (kendi) 妹 いもうと imooto küçük kız kardeş (kendi) 兄弟 きょうだい kyoodai kardeş 姉妹 しまい shimai kız kardeşler 祖父 そふ sofu dede, büyük baba (kendi) 祖母 そぼ sobo nine, büyük anne (kendi) おじいさん おじいさん ojiisan dede, büyük baba おばあさん おばあさん obaasan -
Unmasking the Abject Persona in Postwar and Contemporary Japanese Women's Poetry Lee Friederich Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2009 In the Voices of Men, Beasts, and Gods: Unmasking the Abject Persona in Postwar and Contemporary Japanese Women's Poetry Lee Friederich Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Friederich, Lee, "In the Voices of Men, Beasts, and Gods: Unmasking the Abject Persona in Postwar and Contemporary Japanese Women's Poetry" (2009). All Theses and Dissertations (ETDs). 408. https://openscholarship.wustl.edu/etd/408 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Asian and Near Eastern Languages and Literatures Committee on Comparative Literature Dissertation Examination Committee: Rebecca Copeland, Chair Lingchei Letty Chen Marvin Marcus Jamie Newhard Akiko Tsuchiya Kellie Wells IN THE VOICES OF MEN, BEASTS, AND GODS: UNMASKING THE ABJECT PERSONA IN POSTWAR AND CONTEMPORY JAPANESE WOMEN'S POETY by Lee Evans Friederich A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2009 St. Louis, Missouri copyright by Lee Evans Friederich 2009 ABSTRACT OF THE DISSERTATION In the Voices of Men, Beasts and Gods: Unmasking the Abject Persona in Postwar and Contemporary Japanese Women's Poetry by Lee Evans Friederich Doctor of Philosophy in Japanese and Comparative Literature Washington University in St. -
A Study of Proposition and Modality Focusing on Epistemic Modals in the Japanese Language
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Australian National University A Study of Proposition and Modality Focusing on Epistemic Modals in the Japanese Language Kazuyuki Matsushita A thesis submitted for the degree of Doctor of Philosophy of the Australian National University March 2006 Declaration Except where it is otherwise acknowledged in the text, this thesis is entirely my own work Kazuyuki Matsushita March, 2006 Acknowledgements I would like to express my deepest thanks to my supervisor Dr. Peter Hendriks. He has given precious advice, and encouragement throughout my candidature. In particular, he has provided me with suitable terms to solve semantic gaps between English and Japanese. I am grateful for the time he has spent on my behalf. I wish to thank my associate supervisor Dr. Nicolette Bramley of the University of Canberra, who has provided excellent advice and criticism to improve my draft. I could not have done without Dr. Gail Craswell, at the Academic Skills and Learning Centre, who reviewed my thesis and made significant comments on my drafts. I am also grateful to Dr. Meredith McKinney, who has carefully proofread my draft. I would like to thank Prof. Junsaku Fundō and the late Prof. Kazuo Suzuki, who have given me encouragement to continue my studies since I studied at Tokyo Kyōiku University. Finally, I want to express my gratitude to my wife Sachiko, who read my draft conscientiously, pointed out inappropriate examples, and has supported me through hard times and good times. Canberra, Australia March 2006 Kazuyuki Matsushita ii Abstract This study discusses proposition and modality in the Japanese language, focusing on epistemic modals. -
LESSON NOTES Advanced Audio Blog #1 Meet Miki
LESSON NOTES Advanced Audio Blog #1 Meet Miki CONTENTS 2 Kanji 2 Kana 3 Romanization 4 English 5 Vocabulary 6 Sample Sentences # 1 COPYRIGHT © 2015 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. KANJI 1. 初めまして、美樹です 2. 皆さんこんにちは、はじめまして。☆★ 3. 私の名前は、美樹(みき)といいます。茨城県に住んでいます。今大学で勉強しているの は経営学で、専攻はマーケティングです。今は広告についての論文を書いています。大学 で勉強していることの他に、海外のことにもとても興味があります。今までにイタリアと タイとオーストラリアとトルコに行きましたが、もっともっといろんな国を見ていろんな 人に会ってみたいと思っています。そのために今、ハンバーガーカフェでアルバイトをし ています。たくさんの方とお話したいので何でもいいので気楽にコメントして下さいね。 4. 趣味は旅行と料理。今年の夏は静岡県、千葉県に旅行に行きました。次は、私のおばあち ゃんの住む京都に行く予定です。料理は日本食をよく作ります。昨日は肉じゃがを作った んです。肉じゃがは代表的な日本の家庭料理の一つです。まあまあおいしかったけど、も っと上手に作れるように練習します! 5. 私は車を運転するのもとても好きです。この間は友達と海に行きました。海水浴したり、 バーベキューしたり、ビーチバレーをして、過ごしました。高速道路を使わなかったので 3時間半もかかってしまいましたが、とても楽しいドライブでした。♪ 6. I'll make an entry in my blog about day-to-day situations. 7. See you next week. 8. 日々のいろんな事を、このブログに書いていきたいと思います。 9. それではまた来週。 KANA CONT'D OVER JAPANESEPOD101.COM ADVANCED AUDIO BLOG #1 - MEET MIKI 2 1. はじめまして、みきです 2. みなさん こんにちは、はじめまして。☆★ 3. わたしの なまえは、みきと いいます。いばらきけんに すんでいます。いま だいがくで べ んきょうしているのは けいえいがくで、せんこうは マーケティングです。いまは こうこ くについての ろんぶんを かいています。だいがくで べんきょうしていることの ほかに、 かいがいのことにも とても きょうみがあります。いままでに イタリアと タイと オースト ラリアと トルコに いきましたが、もっともっと いろんなくにを みて いろんなひとに あ ってみたいと おもっています。そのために いま、ハンバーガーカフェで アルバイトを し ています。たくさんのかたと おはなししたいので なんでもいいので きらくに コメントし てくださいね。 4. しゅみは りょこうと りょうり。ことしのなつは しずおかけん、ちばけんに りょこうに い きました。つぎは、わたしの おばあちゃんのすむ きょうとに いく よていです。りょうり は にほんしょくを よく つくります。きのうは にくじゃがを つくったんです。にくじゃが は だいひょうてきな にほんの かていりょうりの ひとつです。まあまあ おいしかったけ ど、もっと じょうずに つくれるように れんしゅうします! 5. わたしは くるまを うんてんするのも とてもすきです。このあいだは ともだちと うみに いきました。かいすいよくしたり、バーベキューしたり、ビーチバレーをして、すごしま した。こうそくどうろを つかわなかったので さんじかんはんも かかってしまいました が、とても たのしいドライブでした。♪ 6. I'll make an entry in my blog about day-to-day situations. 7. See you next week. 8. ひびの いろんなことを、このブログに かいていきたいと おもいます。 9. -
JLTP N5 Vocabulary List.Pdf
JLTP N5 Vocabulary List https://japanesetest4you.com/jlpt-n5- vocabulary-list/ 1 Kana: あび Kanji: 浴びる Romaji: abiru Type: verb Meaning: to bathe; to take a shower; to bask in the sun Example sentences: 勉強した後で、シャワーを浴びます。 benkyou shita atode, shawaa o abimasu. I’ll take a shower after studying. こうしてまた、太陽が浴びられるのは、いい気持ちだわ。 kou shite mata, taiyou ga abirareru no wa, ii kimochi da wa. It’s lovely to feel the sun again. 彼は急いでシャワーを浴び、服を身につけた。 kare wa isoide shawaa o abi, fuku o mi ni tsuketa. He took a quick shower and put on his clothes. こんどシャワーを浴びるときは、タオルを持っていってください。 kondo shawaa o abiru toki wa, taoru o motte itte kudasai. Take your towel with you the next time you take a shower. わたしの部屋は、たっぷりと陽を浴びている。 watashi no heya wa, tappuri to hi o abite iru. My room is bathed in sunlight. まるで頭から冷水をバケツで何杯も浴びせかけるかのように雨は激しくたたきつけるように降ってい た。 marude atama kara reisui o baketsu de nanbai mo abisekakeru ka no you ni ame wa hageshiku tatakitsukeru you ni futte ita. The rain was now coming down so thick and fast that it was as though buckets of ice-cold water were being emptied repeatedly over their heads. Similar words: 濡らす (nurasu) 2 Kana: あぶない Kanji: 危ない Romaji: abunai Type: adjective-i Meaning: dangerous; risky; in danger; in jeopardy; critical; grave; at risk Example sentences: ちゃんと前を見て歩かないと危ないよ。 chanto mae o mite arukanai to abunai yo. It’s dangerous to walk when you’re not looking straight. 夜は暗い町をうろうろしていると危ない。 Yoru wa kurai machi o urouro shiteiru to abunai. It’s not safe to walk on dark streets at night. 危ないじゃないか!道路でサッカーをするなんて。 abunai janai ka. -
2020 H.C.Andersen Award Nominee from Japan
Seizo Tashima 2020 H.C.Andersen Award Nominee from Japan photo ⓒ Shigeru Akimoto 1 Children grow up to be adults. When they grow up and look back at the books they used to love, I don’t want them to be disappointed because the stories were no more than cheap, juvenile devices. There is no meaning in picture books un- less children can read them again as adults and be impressed with them as great works of art. Picture books ought to be art. Why is it possible for children and people with intellectual handicaps to draw pictures that are so moving? It is because, different from adults, they have the flexibility to throw into their work all of the memory in their cells. It is the same power you see in the works of great artists such as Milo, Kandinsky, Klee and Picasso. As humans grow into adults, they stop listening to their inner voices. I want to listen to the voices of plants with the ears of a man from the ancient Jomon culture. Two quotes from Seizo Tashima From Jinsei no oshiru (Soup of Life, Tokyo: Kaiseisha, 2002) photo © Kenji Tsuzuki 2 CONTENTS Biographical information .......................................................................4 Statement .....................................................................................................5 Appreciative essay ① ............................................................................12 Appreciative essay ② ............................................................................15 Awards and other distinctions ...........................................................21 -
ZEN and ZEN CLASSICS Volume Five
9262 NUNC COCNOSCO EX PARTE TRENT UNIVERSITY LIBRARY PRESENTED BY THE JAPAN FOUNDATION Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/zenzenclassics0005blyt From The Japan Foundation ZEN AND ZEN CLASSICS Volume Five Gathering Firewood, by Sosan The inscription, by the artist, says: Today the Western Mountain is crowded; They are cutting up the bones of the patri¬ archs and masters for fuel. I have no idea what weight [value] their burdens may have, But anyway the great thing is that the eternal spring is [once more] new. The picture shows a large number of Zen monks carrying brushwood, and seems to be a satire on the popularity of Zen. I could find nothing about Sosan himself. R. H. BL YTH ZEN AND ZEN CLASSICS Volume Five Twenty-five Zen Essays Trent University USwwy ffW«*OJ»OU«<Ht ©WT. THE HOKUSEIDO PRESS © 1962, by R. H. BLYTH ALL RIGHTS RESERVED First published, as Volume Seven of ZEN AND ZEN CLASSICS, 1962 Reprinted as Volume Five 1966 First Printing, 1962 Sixth Printing, 1979 ISBN 0-89346-052-4 Published by The Hokuseido Press 3-12, Kanda-Nishilricho, Chiyoda-ku, Tokyo Dedicated to Suzuki Daisetz, The only man who can write About Zen Without making me loathe it 34348^ l S' .. ' ' v ■ , . • ■ f •: ■ ; i KMi. - M.- ' - . - - - A A, - V ... k S PREFACE There is nothing harder to write about than Zen. No, this is not so. There is nothing harder than really to write, because really to write means to write by Zen. To write, or eat, or sing, or die by Zen is difficult. -
Handbook of English-Japanese Etymology
HANDBOOK OP ENGLISH-JAPANESE ETYMOLOGY. BY WILLIAM IMBRIE. TOKIYO: PRINTED BY E. MEIKLEJOHN & Co., YOKOHAMA. 1880. PEEFACE. Recent English Grammarians are coming to drop Orthography and Prosody as properly belonging elsewhere, and to treat Grammar as divided into Etymology and Syntax. It is in this sense that the term is employed in the present work : Etymology, the fellow of Syntax ; Grammatical Etymology, not Historical. As at first written, the book consisted entirely of classified sen- tences, prepared by the writer to serve him in rendering English into Japanese, and without a thought of their ever leaving his own table; when, however, it was decided to publish them in the hope that they might prove helpful to others in their earlier studies, it appeared likely that the usefulness of the book would be increased by a change in its form. Accordingly, an outline of Etymology was sketched out, and as many of the sentences as ' seemed desirable inserted, in illustration of important words ranged under their respective Parts of Speech. This statement will explain the presence of so large a number of examples ; it is hoped also that it may afford a sufficient reason for certain blemishes in classification. The work being written from the English side, and with the design of helping the student to render ideas as they lie in an English mind, the author was able to find no title which better expressed his intention and method than the one adopted. Transliteration is still a vexed question, no one of the systems yet proposed commanding universal acquiescence. Those desiring to consult the literature of the subject are referred to the In- IV PREFACE.