A Prosodic Account of Consonant Gemination in Japanese Loanwords
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Man'yogana.Pdf (574.0Kb)
Bulletin of the School of Oriental and African Studies http://journals.cambridge.org/BSO Additional services for Bulletin of the School of Oriental and African Studies: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The origin of man'yogana John R. BENTLEY Bulletin of the School of Oriental and African Studies / Volume 64 / Issue 01 / February 2001, pp 59 73 DOI: 10.1017/S0041977X01000040, Published online: 18 April 2001 Link to this article: http://journals.cambridge.org/abstract_S0041977X01000040 How to cite this article: John R. BENTLEY (2001). The origin of man'yogana. Bulletin of the School of Oriental and African Studies, 64, pp 5973 doi:10.1017/S0041977X01000040 Request Permissions : Click here Downloaded from http://journals.cambridge.org/BSO, IP address: 131.156.159.213 on 05 Mar 2013 The origin of man'yo:gana1 . Northern Illinois University 1. Introduction2 The origin of man'yo:gana, the phonetic writing system used by the Japanese who originally had no script, is shrouded in mystery and myth. There is even a tradition that prior to the importation of Chinese script, the Japanese had a native script of their own, known as jindai moji ( , age of the gods script). Christopher Seeley (1991: 3) suggests that by the late thirteenth century, Shoku nihongi, a compilation of various earlier commentaries on Nihon shoki (Japan's first official historical record, 720 ..), circulated the idea that Yamato3 had written script from the age of the gods, a mythical period when the deity Susanoo was believed by the Japanese court to have composed Japan's first poem, and the Sun goddess declared her son would rule the land below. -
Nzila Ye Isa Kwa Bupilo Bo Bu Sa Feli
NzilaYeIsakwa Bupilo Bo Bu Sa Feli Kana Mu I Fumani? ULIMU YA M’ATA OTE ki yena Mubusi wa pupo kamukana. Bupilo bwa luna M bwa cwale ni bwa kwapili bu itingile ku yena. U na ni m’ata a ku fa mupuzonim’ataakufakoto.Unanim’ataakufabupilonim’ataakubu felisa.Haibalutabelwakiyena,likalikalubelahande;haibah’alutabeli,lika ha li na ku lu bela hande. Ki kwa butokwa luli kuli bulapeli bwa luna ibe b’o a amuhela! ˜ Batubalapelakalinzilazenata. Haiba bulapeli bu swana ni nzila, kana Mulimu wa amuhela linzila kaufela za bulapeli? Kutokwa. Jesu, yena mupolofita wa Mulimu, n’a bonisize kuli ku na ni linzila ze peli fela. N’a ize: ˜ “Munyako wa Sinyeho u atami, mi nzila ye ya mwateniiatami,mibabakena ˜ ˜ mwateni ki ba banata. Kakuli munyako wa bupilo wa kumbana, nzila ye ya ˜ mwatenikiyesisani,mikibabanyinyanibabaifumana.”—Mateu7:13,14. ˜ Ku na ni mifuta ye mibeli fela ya bulapeli: bo bunwi bo bu isa kwa ˜ bupilo ni bo bunwibobuisakwasinyeho.Mulelowa broshuwa ye ki ku mi tusa ku fumana nzila ye isa kwa bupilo bo bu sa feli. Mukoloko wa ze Mwahali NzilaYeIsakwa 1 Kana Bulapeli Bupilo Bo Bu Sa Feli KaufelaBuLutaNiti? ......... 4 2 MuKonakuItuta ˜ Kana Mu I Fumani? CwaniNitikazaMulimu? ..... 5 ˜ 3KiBomani Ba Ba Pila mwaLilukolaMoya? ......... 8 4 Bokukululu ba Luna Ba Kai? . 12 5 NitikazaMabiboniBuloi .... 15 6 Kana Mulimu Wa Amuhela BulapeliKaufela?............ 19 ˜ 7KiBomani Ba Ba Na niBulapelibwaNiti? ........ 22 8 Mu Hane Bulapeli bwa Buhata; Mu Swalisane niBulapelibwaNiti ......... 25 9 Bulapeli bwa Niti Bwa Kona kuMiTusaKuYaKuIle!...... 29 2002 Watch Tower Bible and Tract Society of Pennsylvania Nzila Ye Isa kwa Bupilo Bo Bu Sa Feli—Kana Mu I Fumani? Bahasanyi Printed by Watch Tower Bible and Tract Society of South Africa NPC 1 Robert Broom Drive East, Rangeview, Krugersdorp, 1739, R.S.A. -
Consonant Characters and Inherent Vowels
Global Design: Characters, Language, and More Richard Ishida W3C Internationalization Activity Lead Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 1 Getting more information W3C Internationalization Activity http://www.w3.org/International/ Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 2 Outline Character encoding: What's that all about? Characters: What do I need to do? Characters: Using escapes Language: Two types of declaration Language: The new language tag values Text size Navigating to localized pages Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 3 Character encoding Character encoding: What's that all about? Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 4 Character encoding The Enigma Photo by David Blaikie Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 5 Character encoding Berber 4,000 BC Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 6 Character encoding Tifinagh http://www.dailymotion.com/video/x1rh6m_tifinagh_creation Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 7 Character encoding Character set Character set ⴰ ⴱ ⴲ ⴳ ⴴ ⴵ ⴶ ⴷ ⴸ ⴹ ⴺ ⴻ ⴼ ⴽ ⴾ ⴿ ⵀ ⵁ ⵂ ⵃ ⵄ ⵅ ⵆ ⵇ ⵈ ⵉ ⵊ ⵋ ⵌ ⵍ ⵎ ⵏ ⵐ ⵑ ⵒ ⵓ ⵔ ⵕ ⵖ ⵗ ⵘ ⵙ ⵚ ⵛ ⵜ ⵝ ⵞ ⵟ ⵠ ⵢ ⵣ ⵤ ⵥ ⵯ Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 8 Character encoding Coded character set 0 1 2 3 0 1 Coded character set 2 3 4 5 6 7 8 9 33 (hexadecimal) A B 52 (decimal) C D E F Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 9 Character encoding Code pages ASCII Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 10 Character encoding Code pages ISO 8859-1 (Latin 1) Western Europe ç (E7) Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 11 Character encoding Code pages ISO 8859-7 Greek η (E7) Copyright © 2005 W3C (MIT, ERCIM, Keio) slide 12 Character encoding Double-byte characters Standard Country No. -
Problematika České Transkripce Japonštiny a Pravidla Jejího Užívání Nihongo 日本語 社会 Šakai Fudži 富士 Ivona Barešová, Monika Dytrtová Momidži Tókjó もみ じ 東京 Čotto ち ょっ と
チェ コ語 翼 čekogo cubasa šin’jó 信用 Problematika české transkripce japonštiny a pravidla jejího užívání nihongo 日本語 社会 šakai Fudži 富士 Ivona Barešová, Monika Dytrtová momidži Tókjó もみ じ 東京 čotto ち ょっ と PROBLEMATIKA ČESKÉ TRANSKRIPCE JAPONŠTINY A PRAVIDLA JEJÍHO UŽÍVÁNÍ Ivona Barešová Monika Dytrtová Spolupracovala: Bc. Mária Ševčíková Oponenti: prof. Zdeňka Švarcová, Dr. Mgr. Jiří Matela, M.A. Tento výzkum byl umožněn díky účelové podpoře na specifi cký vysokoškolský výzkum udělené roku 2013 Univerzitě Palackého v Olomouci Ministerstvem školství, mládeže a tělovýchovy ČR (FF_2013_044). Neoprávněné užití tohoto díla je porušením autorských práv a může zakládat občanskoprávní, správněprávní, popř. trestněprávní odpovědnost. 1. vydání © Ivona Barešová, Monika Dytrtová, 2014 © Univerzita Palackého v Olomouci, 2014 ISBN 978-80-244-4017-0 Ediční poznámka V publikaci je pro přepis japonských slov užito české transkripce, s výjimkou jejich výskytu v anglic kém textu, kde se objevuje původní transkripce anglická. Japonská jména jsou uváděna v pořadí jméno – příjmení, s výjimkou jejich uvedení v bibliogra- fi ckých citacích, kde se jejich pořadí řídí citační normou. Pokud není uvedeno jinak, autorkami překladů citací a parafrází jsou autorky této práce. V textu jsou použity následující grafi cké prostředky. Fonologický zápis je uveden standardně v šikmých závorkách // a fonetický v hranatých []. Fonetické symboly dle IPA jsou použity v rámci kapi toly 5. V případě, že není nutné zaznamenávat jemné zvukové nuance dané hlásky nebo že není kladen důraz na zvukové rozdíly mezi jed- notlivými hláskami, je jinde v textu, kde je to možné, z důvodu usnadnění porozumění užito namísto těchto specifi ckých fonetických symbolů písmen české abecedy, např. -
Phonology: Analysis and Theory
This page intentionally left blank Clear and concise, this textbook is an introduction to phonology for students which assumes no prior knowledge of this area of linguistics and provides an overall view of the field which can be covered within one year. The book does not confine itself to any specific theoretical approach and can therefore be used for study within any framework and also to prepare students for work in more specialised frameworks such as Optimality Theory, Government, Dependency and Declarative Phonology. Each chapter focuses on a particular set of theoretical issues including segments, syllables, feet and phonological processing. Gussmann explores these areas using data drawn from a variety of languages including English, Icelandic, Russian, Irish, Finnish, Turkish and others. Suggestions for further reading and summaries at the end of each chapter enable students to find their way to more advanced phonological work. EDMUND GUSSMANN is Professor of General Linguistics at the University of Gda´nsk,Poland. His books include Introduction to Phonological Analysis (1980), Studies in Abstract Phonology (1980), Phono-Morphology (ed., 1985), Licensing in Syntax and Phonology (ed., 1995) and (with A. Doyle) Reverse Dictionary of Modern Irish (1996). Phonology Analysis and Theory EDMUND GUSSMANN University of Gdansk´ Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge , United Kingdom Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521574099 © Edmund Gussmann 2002 This book is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
Hiragana Chart
ひらがな Hiragana Chart W R Y M H N T S K VOWEL ん わ ら や ま は な た さ か あ A り み ひ に ち し き い I る ゆ む ふ ぬ つ す く う U れ め へ ね て せ け え E を ろ よ も ほ の と そ こ お O © 2010 Michael L. Kluemper et al. Beginning Japanese, Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd. All rights reserved. www.TimeForJapanese.com. 1 Beginning Japanese 名前: ________________________ 1-1 Hiragana Activity Book 日付: ___月 ___日 一、 Practice: あいうえお かきくけこ がぎぐげご O E U I A お え う い あ あ お え う い あ お う あ え い あ お え う い お う い あ お え あ KO KE KU KI KA こ け く き か か こ け く き か こ け く く き か か こ き き か こ こ け か け く く き き こ け か © 2010 Michael L. Kluemper et al. Beginning Japanese, Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd. All rights reserved. www.TimeForJapanese.com. 2 GO GE GU GI GA ご げ ぐ ぎ が が ご げ ぐ ぎ が ご ご げ ぐ ぐ ぎ ぎ が が ご げ ぎ が ご ご げ が げ ぐ ぐ ぎ ぎ ご げ が 二、 Fill in each blank with the correct HIRAGANA. SE N SE I KI A RA NA MA E 1. -
Como Digitar Em Japonês 1
Como digitar em japonês 1 Passo 1: Mudar para o modo de digitação em japonês Abra o Office Word, Word Pad ou Bloco de notas para testar a digitação em japonês. Com o cursor colocado em um novo documento em algum lugar em sua tela você vai notar uma barra de idiomas. Clique no botão "PT Português" e selecione "JP Japonês (Japão)". Isso vai mudar a aparência da barra de idiomas. * Se uma barra longa aparecer, como na figura abaixo, clique com o botão direito na parte mais à esquerda e desmarque a opção "Legendas". ficará assim → Além disso, você pode clicar no "_" no canto superior direito da barra de idiomas, que a janela se fechará no canto inferior direito da tela (minimizar). ficará assim → © 2017 Fundação Japão em São Paulo Passo 2: Alterar a barra de idiomas para exibir em japonês Se você não consegue ler em japonês, pode mudar a exibição da barra de idioma para inglês. Clique em ツール e depois na opção プロパティ. Opção: Alterar a barra de idiomas para exibir em inglês Esta janela é toda em japonês, mas não se preocupe, pois da próxima vez que abrí-la estará em Inglês. Haverá um menu de seleção de idiomas no menu de "全般", escolha "英語 " e clique em "OK". © 2017 Fundação Japão em São Paulo Passo 3: Digitando em japonês Certifique-se de que tenha selecionado japonês na barra de idiomas. Após isso, selecione “hiragana”, como indica a seta. Passo 4: Digitando em japonês com letras romanas Uma vez que estiver no modo de entrada correto no documento, vamos digitar uma palavra prática. -
Handy Katakana Workbook.Pdf
First Edition HANDY KATAKANA WORKBOOK An Introduction to Japanese Writing: KANA THIS IS A SUPPLEMENT FOR BEGINNING LEVEL JAPANESE LANGUAGE INSTRUCTION. \ FrF!' '---~---- , - Y. M. Shimazu, Ed.D. -----~---- TABLE OF CONTENTS Page Introduction vi ACKNOWLEDGEMENlS vii STUDYSHEET#l 1 A,I,U,E, 0, KA,I<I, KU,KE, KO, GA,GI,GU,GE,GO, N WORKSHEET #1 2 PRACTICE: A, I,U, E, 0, KA,KI, KU,KE, KO, GA,GI,GU, GE,GO, N WORKSHEET #2 3 MORE PRACTICE: A, I, U, E,0, KA,KI,KU, KE, KO, GA,GI,GU,GE,GO, N WORKSHEET #~3 4 ADDmONAL PRACTICE: A,I,U, E,0, KA,KI, KU,KE, KO, GA,GI,GU,GE,GO, N STUDYSHEET #2 5 SA,SHI,SU,SE, SO, ZA,JI,ZU,ZE,ZO, TA, CHI, TSU, TE,TO, DA, DE,DO WORI<SHEEI' #4 6 PRACTICE: SA,SHI,SU,SE, SO, ZA,II, ZU,ZE,ZO, TA, CHI, 'lSU,TE,TO, OA, DE,DO WORI<SHEEI' #5 7 MORE PRACTICE: SA,SHI,SU,SE,SO, ZA,II, ZU,ZE, W, TA, CHI, TSU, TE,TO, DA, DE,DO WORKSHEET #6 8 ADDmONAL PRACI'ICE: SA,SHI,SU,SE, SO, ZA,JI, ZU,ZE,ZO, TA, CHI,TSU,TE,TO, DA, DE,DO STUDYSHEET #3 9 NA,NI, NU,NE,NO, HA, HI,FU,HE, HO, BA, BI,BU,BE,BO, PA, PI,PU,PE,PO WORKSHEET #7 10 PRACTICE: NA,NI, NU, NE,NO, HA, HI,FU,HE,HO, BA,BI, BU,BE, BO, PA, PI,PU,PE,PO WORKSHEET #8 11 MORE PRACTICE: NA,NI, NU,NE,NO, HA,HI, FU,HE, HO, BA,BI,BU,BE, BO, PA,PI,PU,PE,PO WORKSHEET #9 12 ADDmONAL PRACTICE: NA,NI, NU, NE,NO, HA, HI, FU,HE, HO, BA,BI,3U, BE, BO, PA, PI,PU,PE,PO STUDYSHEET #4 13 MA, MI,MU, ME, MO, YA, W, YO WORKSHEET#10 14 PRACTICE: MA,MI, MU,ME, MO, YA, W, YO WORKSHEET #11 15 MORE PRACTICE: MA, MI,MU,ME,MO, YA, W, YO WORKSHEET #12 16 ADDmONAL PRACTICE: MA,MI,MU, ME, MO, YA, W, YO STUDYSHEET #5 17 -
The Phonology of Quantity in Icelandic and Norwegian
Dysertacje Wydziału Neofilologii UAM w Poznaniu 25 Przemysław Czarnecki The Phonology of Quantity in Icelandic and Norwegian Wydział Neofilologii UAM w Poznaniu Poznań 2016 The Phonology of Quantity in Icelandic and Norwegian Dysertacje Wydziału Neofilologii UAM w Poznaniu 25 Przemysław Czarnecki The Phonology of Quantity in Icelandic and Norwegian Wydział Neofilologii UAM w Poznaniu Poznań 2016 Projekt okładki: Przemysław Czarnecki Recenzja: prof. dr hab. Stanisław Puppel Copyright by: Przemysław Czarnecki Wydanie I, Poznań 2016 ISBN 978-83-947398-6-7 *DOI: 10.14746/9788394739867* Wydanie: Wydział Neofilologii UAM w Poznaniu al. Niepodległości 4, 61-874 Poznań e-mail: [email protected] www.wn.amu.edu.pl The most remarkable fact about phonological phenomena is that they exist at all Jonathan Kaye (1989): Phonology: a cognitive view. Hillsdale: Erlbaum Table of Contents Introduction ...................................................................... 9 Chapter 1. Sounds of Icelandic and Norwegian ............. 14 1.1 Vowels ................................................................... 15 1.2. Consonants ........................................................... 18 1.3. A note on stress and its relation to vowel length ..... 21 Chapter 2. The main assumptions of the theoretical framework .................................................... 24 Chapter 3. Quantity in Icelandic and Norwegian – “open syllable lengthening” ......................... 32 Chapter 4. Branching onsets in Icelandic and Norwegian ... 38 4.1. Branching onsets -
The Japanese Writing Systems, Script Reforms and the Eradication of the Kanji Writing System: Native Speakers’ Views Lovisa Österman
The Japanese writing systems, script reforms and the eradication of the Kanji writing system: native speakers’ views Lovisa Österman Lund University, Centre for Languages and Literature Bachelor’s Thesis Japanese B.A. Course (JAPK11 Spring term 2018) Supervisor: Shinichiro Ishihara Abstract This study aims to deduce what Japanese native speakers think of the Japanese writing systems, and in particular what native speakers’ opinions are concerning Kanji, the logographic writing system which consists of Chinese characters. The Japanese written language has something that most languages do not; namely a total of three writing systems. First, there is the Kana writing system, which consists of the two syllabaries: Hiragana and Katakana. The two syllabaries essentially figure the same way, but are used for different purposes. Secondly, there is the Rōmaji writing system, which is Japanese written using latin letters. And finally, there is the Kanji writing system. Learning this is often at first an exhausting task, because not only must one learn the two phonematic writing systems (Hiragana and Katakana), but to be able to properly read and write in Japanese, one should also learn how to read and write a great amount of logographic signs; namely the Kanji. For example, to be able to read and understand books or newspaper without using any aiding tools such as dictionaries, one would need to have learned the 2136 Jōyō Kanji (regular-use Chinese characters). With the twentieth century’s progress in technology, comparing with twenty years ago, in this day and age one could probably theoretically get by alright without knowing how to write Kanji by hand, seeing as we are writing less and less by hand and more by technological devices. -
Na Kana Magiti Kei Na Lotu
1 NA KANA MAGITI KEI NA LOTU (Vola Tabu : Maciu 22:1-10; Luke 14:12-24) Vola ko Rev. Dr. Ilaitia S. Tuwere. Sa inaki ni vunau oqo me taroga ka sauma talega na taro : A cava na Lotu? Ni da tekivu edaidai ena noda solevu vakalotu, sa na yaga meda taroga ka tovolea talega me sauma na taro oqori. Ia, ena levu na kena isau eda na solia, me vaka na: gumatuataki ni masu kei na vulici ni Vola Tabu, bula vakayalo, muria na ivakarau se lawa ni lotu ka vuqa tale. Na veika oqori era ka dina ka tu kina eso na isau ni taro : A Cava na Lotu. Na i Vola Tabu e sega ni tuvalaka vakavosa vei keda na ibalebale ni lotu. E vakavuqa me boroya vei keda na iyaloyalo me vakadewataka kina na veika eso e vinakata me tukuna. E sega talega ni solia e duabulu ga na iyaloyalo me baleta na lotu. E vuqa sara e solia vei keda. Oqori me vaka na Qele ni Sipi kei na i Vakatawa Vinaka; na Vuni Vaini kei na Tabana; na i Vakavuvuli kei iratou na nona Gonevuli se Tisaipeli, na Masima se Rarama kei Vuravura, na Ulu kei na Vo ni Yago taucoko, ka vuqa tale. Ena mataka edaidai, meda raica vata yani na iyaloyalo ni kana magiti. E rua na kena ivakamacala eda rogoca, mai na Kosipeli i Maciu kei na nei Luke. Na kana magiti se na solevu edua na ivakarau vakaitaukei. Eda soqoni vata kina vakaveiwekani ena noda veikidavaki kei na marau, kena veitalanoa, kena sere kei na meke, kena salusalu kei na kumuni iyau. -
Writing As Aesthetic in Modern and Contemporary Japanese-Language Literature
At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2021 Reading Committee: Edward Mack, Chair Davinder Bhowmik Zev Handel Jeffrey Todd Knight Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2021 Christopher J Lowy University of Washington Abstract At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy Chair of the Supervisory Committee: Edward Mack Department of Asian Languages and Literature This dissertation examines the dynamic relationship between written language and literary fiction in modern and contemporary Japanese-language literature. I analyze how script and narration come together to function as a site of expression, and how they connect to questions of visuality, textuality, and materiality. Informed by work from the field of textual humanities, my project brings together new philological approaches to visual aspects of text in literature written in the Japanese script. Because research in English on the visual textuality of Japanese-language literature is scant, my work serves as a fundamental first-step in creating a new area of critical interest by establishing key terms and a general theoretical framework from which to approach the topic. Chapter One establishes the scope of my project and the vocabulary necessary for an analysis of script relative to narrative content; Chapter Two looks at one author’s relationship with written language; and Chapters Three and Four apply the concepts explored in Chapter One to a variety of modern and contemporary literary texts where script plays a central role.