UCLA Electronic Theses and Dissertations

Total Page:16

File Type:pdf, Size:1020Kb

UCLA Electronic Theses and Dissertations UCLA UCLA Electronic Theses and Dissertations Title Indirect Complaints in Japanese and English Permalink https://escholarship.org/uc/item/8566d49m Author Brenish, Shana Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Indirect Complaints in Japanese and English A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Shana Brenish 2013 ABSTRACT OF THE DISSERTATION Indirect Complaints in Japanese and English by Shana Brenish Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2013 Professor Noriko Akatsuka, Chair This paper looks at indirect complaints in Japanese and English from a conversational analysis perspective. It is a study of 83 indirect complaints from Japanese and English conversations. In section one, I will discuss how complainers deal with the negativity that is associated with indirect complaints. Issues of face and self-presentation will be discussed. Section two examines the role that the non-affected party of a complaint has in the construction of complaints. It looks at their responses as well as other ways in which they contribute to complaints. I will talk also about conversational preference in section two and will look at what happens when multiple preferences in regards to responses to complaints are at variance with each other. Furthermore, I will discuss how knowledge functions in indirect complaints. Section three focuses on how complaints are not limited to one complainer or one complaint at a time. Complaints may consist of multiple complainers. Furthermore, separate but related complaints may occur simultaneously or in succession. In the final section, I will talk about the function of ii complaints and explore how complaints do conversational work beyond venting frustrations. It will be seen that though complaining in itself is an action, other actions can be performed as well when complaining. Some of the general findings of this dissertation are as follows. Indirect complaints are the result of co-construction between the parties involved and their outcome is highly subject to negotiation between these parties. Both complainers and addressees may adjust their tone and stance as they negotiate the complaint. Furthermore, this study reveals how indirect complaints fit within the scheme of negative and positive conversational acts. While speakers approach complaints as if they are doing a negative conversational act, complaints are actively pursued by speakers as they have positive aspects as well. Finally this dissertation shows that interpretation stands as an integral part of the construction of complaints. While a particular speech phenomenon may consistently appear in the context of complaints, the function of that phenomenon may vary greatly from complaint to complaint and is subject to interpretation. iii The dissertation of Shana Brenish is approved. Sung-Ock Shin Sohn Hongyin Tao Steven E. Clayman Noriko Akatsuka, Committee Chair University of California, Los Angeles 2013 iv TABLE OF CONTENTS Transcription Symbols viii Glossary x 1. Introduction 1 1.1. Some Preliminaries on Complaints and Conversation Analysis 1 1.2. Defining Indirect Complaints 2 1.3. Data 3 1.4. Literature Review 5 1.5. Contents of this Dissertation 7 2. Dealing with the Negativity of Complaints 9 2.1. Introduction 9 2.2. Downplaying a Complaint 10 2.3. Speaking Positively within a Complaint 19 2.3.1. Stating the Good Points of a Person or Situation 20 2.3.2. Finding the Silver Lining 32 2.2.3. Summary of Speaking Positively 41 2.4. Characterizing Complaining as an Act one Should not Do 42 2.5. Routinized Expressions 58 2.6. Summary of Dealing with the Negativity of Complaints 62 3. Role of the Non-affected Party 64 3.1. Introduction 64 3.2. Listener Responses 64 3.2.1. Responding by downplaying a complaint 69 v 3.2.2. Responding positively to a complaint 81 3.2.2.1. Stating the positive aspects of a person or situation 81 3.2.2.2. Finding the silver lining 92 3.2.2.3. Indicating positive aspects of the speaker’s circumstances in general 102 3.2.2.4. Summary of responding positively to a complaint 107 3.2.3. Responding with humor 107 3.2.4. Responding by characterizing complaining as a negative act 129 3.2.5. Backtracking from one’s response 131 3.2.6. Summary of listener’s responses 138 3.3. Beyond merely responding: Other roles of the non-affected party 140 3.3.1. Introduction 140 3.3.2. Adding on to a complaint 140 3.3.2.1. Summary of adding on to a complaint 160 3.3.3. Instigating a complaint 160 3.3.3.1. Summary of instigating a complaint 214 3.4. Summary of the role of the non-affected party 215 4. Beyond one complainer and one complaint 217 4.1. Introduction 217 4.2. Second complaints 217 4.2.1. Second complaints which do not diminish the original complaint 223 4.2.2. Second complaints which interrupt the first complaint 244 4.2.3. Objecting to a second complaint 264 vi 4.2.4. Unsympathetic second complaints 275 4.2.5. Anti-second complaints 284 4.2.6. Conclusion of second complaints 288 4.3. Co-complaints 289 4.3.1. Introduction 289 4.3.2. Repetition in co-complaints 290 4.3.3. Humor in co-complaints 306 4.3.4. Summary of co-complaints 323 4.4. Summary of beyond one complainer and one complaint 323 5. Functions of complaints 324 5.1. Introduction 324 5.2. Complaints as explanations 325 5.3. Complaints as a defense 335 5.4. Indirect complaints functioning as direct complaints: The indirect / direct complaint 345 5.5. Hypothetical complaints and negotiation 364 5.6. Summary of functions of complaints 379 6. Conclusion 381 References 384 vii TRANSCRIPTION SYMBOLS [ ] - overlapping speech = - no break or pause, latching speech (.) - micropause . - falling or final intonation contour ? - rising intonation contour , - continuing intonation contour - - - truncated word or intonation contour :: - prolongation or stretching of sound word - (underlining) stress, emphasis WOrd - (capitalization) especially loud talk ° ° - markedly quieter talk <> - compressed or rushed speech >< - slow or drawn out speech (.h) - inhalation (hx) - exhalation hhh - breathing @ - laughter <@ @> - said with laughter X - indiscernible speech <E E> - English used by Japanese speakers <X X> - uncertain hearings <Q Q> - quoted speech marked by changed in voice viii (( )) - ambient noises, descriptions, comments ix GLOSSARY ACC accusative direct object particle o ADV adverbial form ku, ni ASP aspect -te iru -te aru AUX auxiliary -te oku -te miru BCH backchannel CAUS causative CLS classifier counter nin, mai, etc. COND conditional CONJ conjunctive te DAT dative indirect object ni DES desiderative tai, conditional + ii DIR direction e, ni DRT directive directive -te EMPH emphatic moo, nante etc. EVID evidential soo, rashii, yoo, mitai GEN genitive no HON honorific IEP interactive and emotive ne, yo , sa, zo particle IMP imperative INJ interjection ara, ano, are, uses of sono koo ano INSTR instrumental instrumental de x LOC locative ni, de MOD modal have to, may NEG negative NC negative command na NML nominalizer NOM nominative ga PASS passive PAST past tense POL polite desu / masu form POT potential PRED predicative formative copula and its forms PRS presumptive yoo, oo, shoo, deshoo Q question ka QUOT quotative marker to, -tte RY Renyoo form SE sentence extender no wake mono STA stative -te iru kekkon shite iru TAG ja nai, deshoo TARI tari etc., things like that TE -te non-conditional te TEMP temporal TIT title TOP topic marker wa xi TP time particle ni VOL volitional form yoo, oo, mashoo xii VITA Shana Brenish graduated Phi Betta Kappa from the University of Pittsburgh in 1995. She was a dual major and holds a Bachelor of Arts degree in Japanese Studies and Anthropology. She also received a certificate in Latin American Studies. She was awarded a Master of Arts degree in East Asian Languages and Cultures from the University of California, Los Angeles in 1997. After teaching English for several years at Poole Gakuin University in Sakai, Japan, she reenrolled in the East Asian Languages and Cultures program at UCLA to pursue her Doctor of Philosophy degree. She specialized in Japanese linguistics and was particularly interested in the area of conversation analysis. While at UCLA, she worked as a teaching associate of Japanese language. She currently is an instructor of Japanese Language at Fullerton College, Long Beach City College, and West Los Angeles College. xiii 1. INTRODUCTION 1.1. SOME PRELIMINARIES ON COMPLAINTS AND CONVERSATION ANALYSIS Complaining is the conversational act of expressing dissatisfaction about someone or something. While linguists generally use the term “complaining” to refer to this act, there are also various synonymous layman terms which denote this action as well, such as ‘griping’, ‘moaning’, ‘bitching’, ‘bellyaching’, and ‘whining’. Researchers have generally divided complaints into two different types: direct and indirect. While both types signify the expression of dissatisfaction, they differ in their audience. Speakers express direct complaints in the presence of the person who they believe is responsible for the less than satisfactory situation or perceived offense. The addressee is thought to be able to affect a change in the situation (for studies on direct complaints in conversation; Dersley and Wootton (2000); Laforest (2002, 2009); Schgeloff (2005); Tatsuki (2000). In the case of indirect complaints, however, the offending party is not present. The speakers are only expressing their grievances to the addressee, not holding them accountable for them. It is the indirect complaint that will be the focus of my dissertation research. For my dissertation research, I will look at indirect complaints in Japanese and English from a conversation analysis perspective.
Recommended publications
  • Appendix B: Transcript Bravely Default
    Appendix B: Transcript Bravely Default Applied JGRL usage tagging styles: Gender-conforming Gender-contradicting Gender-neutral (used to tag text which is easily confusable as JGRL) Gender-ambiguous Notes regarding preceding text line Finally, instances of above tagging styles applied to TT indicate points of interest concerning translation. One additional tagging style is specifically used for TT tagging: Alternate translations of ‘you’ 『ブレイブリーデフォルトフォーザ・シークウェル』 [BUREIBURII DEFORUTO FOOZA・ SHIIKUWERU]— —“BRAVELY DEFAULT” 1. 『オープニングムービー』 [Oopuningu Muubii] OPENING CINEMATICS AIRY anata, ii me wo shiteru wa ne! nan tte iu ka. sekininkan ga tsuyo-sou de, ichi-do kimeta koto wa kanarazu yaritoosu! tte kanji da wa. sonna anata ni zehi mite-moraitai mono ga aru no yo. ii? zettai ni me wo sorashicha DAME yo. saigo made yaritokete ne. sore ja, saki ni itteru wa. Oh, hello. I see fire in those eyes! How do I put it? They’ve a strong sense of duty. Like whatever you start, you’ll always see through, no matter what! If you’ll permit me, there’s something I’d very much like to show you. But… First, I just need to hear it from you. Say that you’ll stay. Till the very end. With that done. Let’s get you on your way! ACOLYTES KURISUTARU no kagayaki ga masumasu yowatte-orimasu. nanika no yochou de wa nai deshou ka. hayaku dou ni ka shimasen to. The crystal’s glow wanes by the hour. It’s fading light augurs a greater darkness. Something must be done! AGNÈS wakatteimasu. Leave all to me. AGNÈS~TO PLAYER watashi no namae wa, ANIESU OBURIIJU.
    [Show full text]
  • Introduction Japanese Hip-Hop
    Introduction Japanese Hip-Hop kakumei datta. It was a revolution. nimai no rekôdo o hikkaite Scratching two records hitotsu no ongaku o tsukuridasu. and making one music. sono kakki wa buronkusu, That vigor came from the Bronx, tsumari hippu hoppu ga saisho ni the place where hip-hop was hakken sareta basho, first discovered, soko kara umi o koe nihon ni mo from there, across the ocean, to Japan tobihi shita no de aru. a spark flew and lit a fire. sô, densetsu no hajimari da. Yes, it is the beginning of the legend. — ECD 1 It’s 3 a.m. in a humid, smoky, basement nightclub called Family in Tokyo. “FG Night,” a monthly Japanese hip-hop event, has been going since 11 p.m. After three live acts, the show is winding up with an open-ended freestyle session as two microphones circulate among the 15 or so people milling around the low platform that serves as a stage. One after another, newcomer rappers grab the mic and shout a minute or two of their rhymes before someone else dives in and starts it again. Most of the rappers, in their late teens to mid-twenties, are men, but a couple women try out too. It’s a free for all, ruled by the ability to hold the stage through a clever turn of phrase and a catchy delivery. Then there’s a pause as one of the more well-known rappers takes the front. The scritch-scratch of the DJ’s turntable counts time as Gaku-MC holds the microphone to his lips: “Moriagatten no ka?” (“Are you having fun yet?”).
    [Show full text]
  • The Game's the Thing: a Cultural Studies Approach to War Memory, Gender
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarSpace at University of Hawai'i at Manoa THE GAME’S THE THING: A CULTURAL STUDIES APPROACH TO WAR MEMORY, GENDER, AND POLITICS IN JAPANESE VIDEOGAMES A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES MARCH 2017 By Keita C. Moore Thesis Committee: Christine Yano, Chairperson Lonny Carlile Yuma Totani ACKNOWLEDGEMENTS This thesis is in some ways marks an end to my twenties, and a beginning for everything thereafter. From its inception as a series of experiences in Japan to its completion in written form, I have been indebted to a great many people. First and foremost, I wish to thank my committee members: Christine Yano, Lonny Carlile, and Yuma Totani. All three were mentors to me in my coursework at the University of Hawaiʻi, and provided invaluable feedback and support throughout the writing process. Within the Asian Studies department, I am also grateful for the advice of Cathryn H. Clayton and Young-a Park. From my cohort, I cannot thank Clara Hur and Layne Higgenbotham enough for their friendship, and lending me a sympathetic ear from time to time. From a former life, I also wish to thank Kenneth Pinyopusarerk and John Crow. Without their patient mentorship, I would not be the writer—or the translator—that I am today. Likewise, I would never have come this far without my family: Carol-Lynne Moore, Kaoru Yamamoto, and Kiyomi Moore.
    [Show full text]
  • THE USE in MODERN JAPANESE of M GRAI©Mticae/PARTICLES
    The use in modern Japanese of the grammatical particles known as kakari-joshi and fuku-joshi Item Type text; Thesis-Reproduction (electronic) Authors Wallace, Delight Johnstone, 1944- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 13:56:02 Link to Item http://hdl.handle.net/10150/318573 THE USE IN MODERN JAPANESE OF m GRAI©mTICAE/PARTICLES KNOWN AS KAKARI-JOSHI AND FUKU-JOSHI Delight Johnstone Wallace. A Thesis'Submitted toth e Faculty of the i^KARTNiENf DF ORIENTAL STtDIES z" In Partial Fulfillment of the Requirements For the Degree of .. MASTER OF ARTS In the Graduate College THE.UNIVERSITY OF ARIZONA 1/9 S O STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at the University of Arizona and is deposited in the University Library- to be made available to borrowers . under rules of the Library. Brief.quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship.
    [Show full text]
  • Fairy Inc. Sheet Music Products List Last Updated [2013/03/018] Price (Japanese Yen) a \525 B \788 C \683
    Fairy inc. Sheet Music Products list Last updated [2013/03/018] Price (Japanese Yen) A \525 B \788 C \683 ST : Standard Version , OD : On Demand Version , OD-PS : Piano solo , OD-PV : Piano & Vocal , OD-GS : Guitar solo , OD-GV : Guitar & Vocal A Band Score Piano Guitar Title Artist Tie-up ST OD ST OD-PS OD-PV ST OD-GS OD-GV A I SHI TE RU no Sign~Watashitachi no Shochiku Distributed film "Mirai Yosouzu ~A I DREAMS COME TRUE A A A Mirai Yosouzu~ SHI TE RU no Sign~" Theme song OLIVIA a little pain - B A A A A inspi'REIRA(TRAPNEST) A Song For James ELLEGARDEN From the album "BRING YOUR BOARD!!" B a walk in the park Amuro Namie - A a Wish to the Moon Joe Hisaishi - A A~Yokatta Hana*Hana - A A Aa Superfly 13th Single A A A Aa Hatsu Koi 3B LAB.☆ - B Aa, Seishun no Hibi Yuzu - B Abakareta Sekai thee michelle gun elephant - B Abayo Courreges tact, BABY... Kishidan - B abnormalize Rin Toshite Shigure Anime"PSYCHO-PASS" Opening theme B B Acro no Oka Dir en grey - B Acropolis ELLEGARDEN From the album "ELEVEN FIRE CRACKERS" B Addicted ELLEGARDEN From the album "Pepperoni Quattro" B ASIAN KUNG-FU After Dark - B GENERATION again YUI Anime "Fullmetal Alchemist" Opening theme A B A A A A A A Again 2 Yuzu - B again×again miwa From 2nd album "guitarium" B B Ageha Cho PornoGraffitti - B Ai desita. Kan Jani Eight TBS Thursday drama 9 "Papadoru!" Theme song B B A A A Ai ga Yobu Hou e PornoGraffitti - B A A Ai Nanda V6 - A Ai no Ai no Hoshi the brilliant green - B Ai no Bakudan B'z - B Ai no Kisetsu Angela Aki NHK TV novel series "Tsubasa" Theme song A A
    [Show full text]
  • 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.
    [Show full text]
  • Manipulation of Honorifics in First- Encounter Conversations in Japanese
    Manipulation of Honorifics in First- Encounter Conversations in Japanese Item Type text; Electronic Dissertation Authors Yamaji, Harumi Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 04:52:43 Link to Item http://hdl.handle.net/10150/195228 MANIPULATION OF HONORIFICS IN FIRST-ENCOUNTER CONVERSATIONS IN JAPANESE by Harumi Yamaji _____________________ A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2008 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Harumi Yamaji entitled Manipulation of Honorifics in First-Encounter Conversations in Japanese and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy ___________________________________________ Date: 12/6/2007 Kimberly Jones ___________________________________________ Date: 12/6/2007 Timothy Vance ___________________________________________ Date: 12/6/2007 Mariko Karatsu Final approval and acceptance of this dissertation is contingent upon the candidate’s submission
    [Show full text]
  • 307429678.Pdf
    rsstetttefc ;}jf to REV. EGERTON RYERSON 770,3 6OOO CHINESE CHARACTERS WITH JAPANESE PRONUNCIATIO AND JAPANESE AND ENGLISH RENDERINGS BY J. IRA JONES, A.B. H. V. S. PEEKE, D.D. KYO BUN KWAN TOKYO CONTENTS PAGE PREFACE ... ... ... ... ... v-vi INTRODUCTION vn-ix TABLE OF SOUNDS PRODUCED BY CERTAIN COMBINATIONS OF TWO OR MORE LETTERS OF THE kana ... ... ... ... x LIST OF THE 214 RADICALS ... ... ... XI-XX DICTIONARY 1-212 I.IST OF CHARACTERS WHOSE RADICALS ARE OBSCURE ... ... ... ... ...213-219 LIST OF USEFUL GEOGRAPHICAL NAMES 22O-223 PREFACE. Some years ago the present writer discovered a small Chinese- Japanese dictionary containing five thousand characters. It was fairly well printed, was portable, in fact just what he wanted, but it was nearly out of print. He was fortunate enough to obtain a dozen copies in an obscure book-shop, and made it a practice to pre- sent a copy to young missionaries of special linguistic promise. One of these books was given to Rev. J. Ira Jones, a student missionary at Fukuoka. When Mr. Jones took up the study of the Chinese characters in earnest, he applied the index principle to the little dictionary. There was nothing original in indexing the side margin with numbers for the sets of radicals from one stroke to seventeen. But the indexing of the lower margin for the radicals themselves, thus subdividing the side indexes, deserves the credit of a new invention. By the first, the time required for finding a it addi- character was cut one fourth ; by the second, was reduced an tional two fourths.
    [Show full text]
  • The Unexpected World of Boys Love: Challenging the Nuclear Family, Defying Labels, and Finding Happiness
    Capstone Project Submitted in Partial Fulfillment of the Japanese Major: The Unexpected World of Boys Love: Challenging the Nuclear Family, Defying Labels, and Finding Happiness Presented to the Department of East Asian Languages, Literatures, and Cultures at the University of Virginia. 14 May, 2021 Agatha Tatang [email protected] Tatang 2 Boys Love (ボーイズラブ), or BL is a genre in Japan that encapsulates “...manga, novels, anime, movies, and now computer games, that features love relationships between young men” (Kawano). While it has many different fans of different sexual orientations and genders, the majority of BL fans are heterosexual young girls and women, 60% of them being between the ages of 15 and 29 years old (Kawano). These women have even coined a term for themselves – “fujoshi”, translating to “rotten woman”. Like the name implies, fujoshi typically are not seen positively by society. Since these women call themselves this, Kirsty Kawano notes that “....by labeling themselves “fujoshi,” BL fans prevent others from sticking a different label on them. With this subversive term, they voluntarily cut themselves off from the demands of the world of men, with “rotten” making it clear that they are no longer fit for male consumption” (Kawano). By establishing themselves as abject, they take away the authority from others to label them. Furthermore, through BL they are able to claim autonomy in a male-dominated society through their consumption and enjoyment of the genre. There are a variety of reasons to why women enjoy BL - some enjoy the being able to see the perspective of the seme, a term that is given to the role of the pursuer in BL, which is similar to the role traditionally taken by men in heterosexual relationships.
    [Show full text]
  • Contemporary Translationese in Japanese Popular Literature
    University of Alberta Contemporary Translationese in Japanese Popular Literature by Yukari Fukuchi Meldrum A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Translation Studies Department of Modern Languages and Cultural Studies Department of East Asian Studies ©Yukari Fukuchi Mledrum Fall 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Examining Committee Dr. Anne Malena, Modern Languages and Cultural Studies Dr. Tsuyoshi Ono, East Asian Studies Dr. Anne Commons, East Asian Studies Dr. Geneviève Maheux-Pelletier, Modern Languages and Cultural Studies Dr. Ryan Dunch, History and Classics Dr. Kayoko Takeda, Graduate School of Translation and Interpretation, Monterey Institute of International Studies Abstract One of the main aims of this thesis is to examine the translational situation of popular fiction in post-industrial Japan. Specifically, the goal is to uncover two main aspects surrounding the phenomenon of translationese, the language used in translation. One aspect to be investigated is the characteristic features of Japanese translationese, and the other is readers’ attitudes toward translationese.
    [Show full text]
  • Introduction Japanese Hip-Hop
    Introduction Japanese Hip-Hop kakumei datta. It was a revolution. nimai no rekôdo o hikkaite Scratching two records hitotsu no ongaku o tsukuridasu. and making one music. sono kakki wa buronkusu, That vigor came from the Bronx, tsumari hippu hoppu ga saisho ni the place where hip-hop was hakken sareta basho, first discovered, soko kara umi o koe nihon ni mo from there, across the ocean, to Japan tobihi shita no de aru. a spark flew and lit a fire. sô, densetsu no hajimari da. Yes, it is the beginning of the legend. — ECD 1 It’s 3 a.m. in a humid, smoky, basement nightclub called Family in Tokyo. “FG Night,” a monthly Japanese hip-hop event, has been going since 11 p.m. After three live acts, the show is winding up with an open-ended freestyle session as two microphones circulate among the 15 or so people milling around the low platform that serves as a stage. One after another, newcomer rappers grab the mic and shout a minute or two of their rhymes before someone else dives in and starts it again. Most of the rappers, in their late teens to mid-twenties, are men, but a couple women try out too. It’s a free for all, ruled by the ability to hold the stage through a clever turn of phrase and a catchy delivery. Then there’s a pause as one of the more well-known rappers takes the front. The scritch-scratch of the DJ’s turntable counts time as Gaku-MC holds the microphone to his lips: “Moriagatten no ka?” (“Are you having fun yet?”).
    [Show full text]
  • Introduction Hip-Hop, Japan, and Cultural Globalization
    It was a revolution. Scratching Kakumei datta. Nimai no rekōdo o two records to make one music. hikkaite hitotsu no ongaku o tsukuridasu. ... ... That energy came from the Bronx, Sono kakki wa buronkusu, tsumari where hip-hop was first discovered, hippu hoppu ga saisho ni hakken sareta basho, from there across the ocean to Japan, soko kara umi o koe nihon ni mo a spark flew and caught fire. tobihi shita no de aru. Yes, it is the beginning of the legend. Sō, densetsu no hajimari da. —ecd ‘‘Intro’’ on Big Youth INTRODUCTION HIP-HOP, JAPAN, AND CULTURAL GLOBALIZATION With these words, the Japanese rapper ecd uses the image of a spark to reflect 1 on the ways hip-hop crosses borders and sets the world alight. He gives credit to the New York City pioneers—Grandmaster Flash, Kool Herc, Rakim, krs- One—and the energy of the Bronx that started the movement, but he also reminds us that while origins are important, hip-hop depends on the people who keep the fire going wherever they might be. Hip-Hop Japan analyzes the paths these sparks took as the music and culture spread from a small, under- ground scene in the eighties and early nineties, largely dismissed by Japan’s major media companies, to become a mainstream pop culture phenomenon today. Hip-hop was a revolution, as ecd says, because it provided a particu- lar means for youth to express themselves through rhythm and rhyme, sam- pling and remixing, and battling with one’s skills. As the flames spread in the late nineties, Japanese hip-hop became more commercialized, but that commercialization developed alongside a widening and diversifying under- ground scene, encompassing artists and fans from a broader range of socio- economic backgrounds and from throughout Japan, from Hokkaido in the north to Okinawa in the south.
    [Show full text]