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Frank's do-it-yourself kana cards v. 1.0, 2000-08-07 Frank Stajano University of Cambridge and AT&T Laboratories Cambridge http://www.cl.cam.ac.uk/~fms27/ and http://www.uk.research.att.com/~fms/ This set of flash cards is meant to help you familiar cards and insist on the difficult part of き and さ with a separate stroke, become fluent in the use of the Japanese ones. unlike what happens in the fonts used in hiragana and katakana syllabaries. I made this document. I have followed the stroke it because I needed one myself and could The complete set consists of 10 double- counts of Henshall-Takagaki, even when not find it in the local bookshops (kanji sided sheets (20 printable pages) of 50 they seem weird for the shape of the char- cards were available, and I bought those; cards each, but you may choose to print acter as drawn on the card. but kana cards weren't); if it helps you too, smaller subsets as detailed below. Actu- so much the better. ally there are some blanks, so the total The easiest way to turn this document into number of cards is only 428 instead of 500. a set of cards is simply to print it (double The romanisation system chosen for these It would have been possible to fit them on sided of course!) and then cut each page cards is the Hepburn, which is the most 9 sheets instead of 10, but only by com- into cards with a ruler and a sharp blade. widely used one. The Hepburn system pletely ignoring the natural structure of However, ordinary 80 g/m2 laser printer tries to represent the Japanese pronuncia- the sets. This would have made it harder paper is a bit too thin for this purpose: the tion as faithfully as possible, and therefore for you to print subsets and for me to cards won't be very easy to handle (mix- appears inconsistent in places, especially avoid silly mistakes of the kind where the ing the deck will be the hardest part) and in the S (sa shi su se so) and T (ta chi tsu front and the back of a card no longer it will be easy inadvertently to see by te to) rows and derived combinations. The match. The essential core of the set is in transparency what is on the other side of a Kunrei system, the official romanisation the first two sheets, which show the hira- card as you hold it up. Using heavier pa- system recommended by the Japanese gana and katakana rendering of the basic per is usually difficult on most printers: government, is more uniform in its tran- 46 syllables. The next two sheets, again unless the print path is straight, the sheet scription of consonants (ta ti tu te to) and one each for hiragana and katakana, list will jam. Besides, when cutting manually, looks more logical, but produces spellings the voiced sound (dakuon) variants and it is unlikely that the cards will end up that do not immediately suggest the ap- the first part of the contracted sound being all of exactly the same size. I was propriate pronunciation (e.g. “Huzi” for (yōon) combinations. The fifth sheet, half lucky enough to be able to take advantage “Fuji”). The rarely used Nippon system is for hiragana and half for katakana, has the of the professional services of the print very similar to the Kunrei system and remaining yōon combinations. These first shop of the University of Cambridge even more regular. It is the only one of the five sheets are set in a serif font that imi- (thanks, Bruce!) and the results were out- three with a distinct romanisation for each tates the traditional “Ming”. The next five standing. If you can afford to do some- kana sign: じ and ぢ, for example, from sheets contain exactly the same characters, thing similar, it will be well worth it. To the Z and D rows, are respectively ren- in the same arrangement, but in a sans help with cutting, especially on a motor- dered as ji and ji in Hepburn, as zi and zi serif “Gothic” font. This modern font is ised guillotine, I have left a wide bottom in Kunrei, and as zi and di in Nippon. I perhaps less elegant, but it makes it a bit margin of about 3 cm. To allow for small have therefore added the Nippon version easier to distinguish the beginning and tolerances in positioning, I have not in brackets to all the cards where the Hep- end of individual strokes, as in the cases printed any cutting lines around the edges burn rōmaji was ambiguous. This ensures of ふ versus ふ, or む versus む. It is of of the cards; but the grid printed on the that, for each side of each card, what ap- course useful to learn to recognise both; back of this page may be used as a guide, pears on the other side is uniquely deter- fortunately, this is much easier than you since it corresponds exactly to the invisi- mined. might think. As an extra bonus, I have ble grid on the other sheets. added stroke order numbers to the Gothic Each card has a kana symbol or symbol versions (both hiragana and katakana) of A substantial amount of effort has gone combination on one side and the corre- the basic 46 syllables. The number appears into the production of these cards. I sponding rōmaji on the other side. The near the beginning of the corresponding hereby donate this work to the public obvious way to use the cards for practice stroke. Note that textbooks (and font de- domain, so feel free to use these cards in drills, or at least the one I use, is to draw signers) disagree on the stroke count of any way you like without any obligation cards at random and say (or write down) some characters: for example, Henshall- towards me. If you wish to print them out what should be on the other side. Thanks Takagaki1 lists そ as having three strokes, commercially and resell them in the hope to the disambiguation mentioned above while JFBP2 says it has only one; similarly, of making lots of money, good luck to you this can be done in either direction, from both of the above texts draw the bottom — it's fine by me. The original file is and kana to rōmaji and vice versa. Of course, if always will be freely available on the web you are just starting, you may limit your- as fms-kana.pdf (currently at the URLs self to the subset of kana you know; 1 K. Henshall, T. Takagaki, A guide to learning hira- above, but use a search engine if you find whereas, as you become more proficient, gana and katakana, Tuttle, 1990, 0-8048-1633-8. that my web pages have moved). 2 AJALT, Japanese For Busy People I (revised ed.), you may wish to drop some of the more Kodansha, 1994, 4-7700-1882-7. 1 Cutting guide Here is an index to the con- tents of this document, which may be useful if you only wish to print a subset of the cards. Pages 1-2 Introduction, reference cutting grid and index Pages 7-8 Pages 9-10 Pages 11-12 Pages 3-4 Pages 5-6 Hiragana dakuon Katakana dakuon Remainder of hiragana Hiragana basic syllables Katakana basic syllables and first part of yōon and first part of yōon and katakana yōon (Ming-style typeface) (Ming-style typeface) (Ming-style typeface) (Ming-style typeface) (Ming-style typeface) Pages 13-14 Pages 15-16 Pages 17-18 Pages 19-20 Pages 21-22 Hiragana basic syllables Katakana basic syllables Hiragana dakuon Katakana dakuon Remainder of hiragana with stroke order numbers with stroke order numbers and first part of yōon and first part of yōon and katakana yōon (Gothic-style typeface) (Gothic -style typeface) (Gothic -style typeface) (Gothic -style typeface) (Gothic -style typeface) Frank’s Frank’s do-it-yourself kana cards do-it-yourself kana cards http://www.uk.research http://www.cl.cam.ac.uk/ .att.com/~fms/fms-kana.pdf ~fms27/fms-kana.pdf 2 あ い う え お か き く け こ さ し す せ そ た ち つ て と な に ぬ ね の は ひ ふ へ ほ ま み む め も や ゆ よ ら り る れ ろ わ ん を 3 o (o) e u i a hiragana hiragana hiragana hiragana hiragana ko ke ku ki ka hiragana hiragana hiragana hiragana hiragana so se su shi sa hiragana hiragana hiragana hiragana hiragana to te tsu chi ta hiragana hiragana hiragana hiragana hiragana no ne nu ni na hiragana hiragana hiragana hiragana hiragana ho he fu hi ha hiragana hiragana hiragana hiragana hiragana mo me mu mi ma hiragana hiragana hiragana hiragana hiragana yo yu ya hiragana hiragana hiragana ro re ru ri ra hiragana hiragana hiragana hiragana hiragana o (wo) n wa hiragana hiragana hiragana 4 ア イ ウ エ オ カ キ ク ケ コ サ シ ス セ ソ タ チ ツ テ ト ナ ニ ヌ ネ ノ ハ ヒ フ ヘ ホ マ ミ ム メ モ ヤ ユ ヨ ラ リ ル レ ロ ワ ン ヲ 5 o (o) e u i a katakana katakana katakana katakana katakana ko ke ku ki ka katakana katakana katakana katakana katakana so se su shi sa katakana katakana katakana katakana katakana to te tsu chi ta katakana katakana katakana katakana katakana no ne nu ni na katakana katakana katakana katakana katakana ho he fu hi ha katakana katakana katakana katakana katakana mo me mu mi ma katakana katakana katakana katakana katakana yo yu ya katakana katakana katakana ro re ru ri ra katakana katakana katakana katakana katakana o (wo) n wa katakana katakana katakana 6 が ぎ ぐ げ ご ざ じ ず ぜ ぞ だ ぢ づ で ど ば び ぶ べ ぼ ぱ ぴ ぷ ぺ ぽ きゃ きゅ きょ しゃ しゅ しょ ちゃ ちゅ ちょ にゃ にゅ にょ ひゃ ひゅ ひょ 7 go ge gu gi ga hiragana hiragana hiragana hiragana hiragana zo ze zu (zu) ji (zi) za hiragana hiragana hiragana hiragana hiragana do de zu (du) ji (di) da hiragana hiragana hiragana hiragana hiragana bo be bu bi ba hiragana hiragana hiragana hiragana hiragana po pe pu pi pa hiragana hiragana hiragana hiragana hiragana kyo kyu kya hiragana hiragana hiragana sho shu sha hiragana hiragana hiragana cho chu cha hiragana hiragana hiragana nyo nyu nya hiragana hiragana hiragana hyo hyu hya hiragana hiragana hiragana 8 ガ ギ グ ゲ ゴ ザ ジ ズ ゼ ゾ ダ ヂ ヅ デ ド バ ビ ブ ベ ボ パ ピ プ ペ ポ キャ キュ キョ シャ シュ ショ チャ チュ チョ ニャ ニュ ニョ ヒャ ヒュ ヒョ 9 go ge gu gi ga katakana katakana katakana katakana katakana zo ze zu (zu) ji (zi)
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    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

    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.
  • 850 Richards Street, Suite 201 • Honolulu, HI 96813 • 808-531-5502 Speaks.Hawaii-Can.Org • Speaks@Hawaii-Can.Org

    850 Richards Street, Suite 201 • Honolulu, HI 96813 • 808-531-5502 Speaks.Hawaii-Can.Org • [email protected]

    Hawai‘i Children's Action Network Speaks! is a nonpartisan 501c4 nonprofit committed to advocating for children and their families. Our core issues are safety, health, and education. To: Senate Committee on Government Relations Re: SCR 26 / SR 15 – Urging the empowerment of young women by annually recognizing October 11 as the International Day of the Girl Hawai‘i State Capitol, Room 016 and videoconference March 18, 2021, 3:10 PM Dear Chair Moriwaki, Vice Chair Dela Cruz, and committee members, On behalf of Hawai‘i Children’s Action Network Speaks!, I am writing in support of SCR 26 / SR 15. These resolutions urge the empowerment of young women by annually recognizing October 11 as the International Day of the Girl. Hawaii Children’s Action Network Speaks! is committed to advocating for children and fighting to ensure all keiki in our state are healthy, safe, and ready to learn. We believe that annually recognizing October 11 as the International Day of the Girl in Hawai‘i would be an effective way further the goals of the United Nations’ designation of October 11 as International Day of the Girl Child. These goals, as proclaimed by Governor Ige on October 11, 2020, include building awareness of the challenges faced by girls, helping to end gender discrimination, supporting more opportunities for girls, safeguarding their rights, and encouraging their full social, political, and economic participation. Mahalo for the opportunity to provide this testimony. Please pass SCR 26/ SR 15. Thank you, Nicole Woo Director, Research and Economic Policy 850 Richards Street, Suite 201 • Honolulu, HI 96813 • 808-531-5502 speaks.hawaii-can.org • [email protected] Written Testimony of Kana Walsh House Committee on Culture, Arts, & International Affairs House Committee on Education Kana Walsh Youth Outreach Officer American Red Cross Testimony of Kana Walsh My name is Kana Walsh and I’m in the 8th grade.
  • Implementing Cross-Locale CJKV Code Conversion

    Implementing Cross-Locale CJKV Code Conversion

    Implementing Cross-Locale CJKV Code Conversion Ken Lunde CJKV Type Development Adobe Systems Incorporated bc ftp://ftp.oreilly.com/pub/examples/nutshell/ujip/unicode/iuc13-c2-paper.pdf ftp://ftp.oreilly.com/pub/examples/nutshell/ujip/unicode/iuc13-c2-slides.pdf Code Conversion Basics dc • Algorithmic code conversion — Within a single locale: Shift-JIS, EUC-JP, and ISO-2022-JP — A purely mathematical process • Table-driven code conversion — Required across locales: Chinese ↔ Japanese — Required when dealing with Unicode — Mapping tables are required — Can sometimes be faster than algorithmic code conversion— depends on the implementation September 10, 1998 Copyright © 1998 Adobe Systems Incorporated Code Conversion Basics (Cont’d) dc • CJKV character set differences — Different number of characters — Different ordering of characters — Different characters September 10, 1998 Copyright © 1998 Adobe Systems Incorporated Character Sets Versus Encodings dc • Common CJKV character set standards — China: GB 1988-89, GB 2312-80; GB 1988-89, GBK — Taiwan: ASCII, Big Five; CNS 5205-1989, CNS 11643-1992 — Hong Kong: ASCII, Big Five with Hong Kong extension — Japan: JIS X 0201-1997, JIS X 0208:1997, JIS X 0212-1990 — South Korea: KS X 1003:1993, KS X 1001:1992, KS X 1002:1991 — North Korea: ASCII (?), KPS 9566-97 — Vietnam: TCVN 5712:1993, TCVN 5773:1993, TCVN 6056:1995 • Common CJKV encodings — Locale-independent: EUC-*, ISO-2022-* — Locale-specific: GBK, Big Five, Big Five Plus, Shift-JIS, Johab, Unified Hangul Code — Other: UCS-2, UCS-4, UTF-7, UTF-8,
  • D Igital Text

    D Igital Text

    Digital text The joys of character sets Contents Storing text ¡ General problems ¡ Legacy character encodings ¡ Unicode ¡ Markup languages Using text ¡ Processing and display ¡ Programming languages A little bit about writing systems Overview Latin Cyrillic Devanagari − − − − − − Tibetan \ / / Gujarati | \ / − Armenian / Bengali SOGDIAN − Mongolian \ / / Gurumukhi SCRIPT Greek − Georgian / Oriya Chinese | / / | / Telugu / PHOENICIAN BRAHMI − − Kannada SINITIC − Japanese SCRIPT \ SCRIPT Malayalam SCRIPT \ / | \ \ Tamil \ Hebrew | Arabic \ Korean | \ \ − − Sinhala | \ \ | \ \ _ _ Burmese | \ \ Khmer | \ \ Ethiopic Thaana \ _ _ Thai Lao The easy ones Latin is the alphabet and writing system used in the West and some other places Greek and Cyrillic (Russian) are very similar, they just use different characters Armenian and Georgian are also relatively similar More difficult Hebrew is written from right−to−left, but numbers go left−to−right... Arabic has the same rules, but also requires variant selection depending on context and ligature forming The far east Chinese uses two ’alphabets’: hanzi ideographs and zhuyin syllables Japanese mixes four alphabets: kanji ideographs, katakana and hiragana syllables and romaji (latin) letters and numbers Korean uses hangul ideographs, combined from jamo components Vietnamese uses latin letters... The Indic languages Based on syllabic alphabets Require complex ligature forming Letters are not written in logical order, but require a strange ’circular’ ordering In addition, a single line consists of separate