Japanese Dialect Ideology from Meiji to the Present
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Phonology of Sino-Japanese Morphemes
University of Massachusetts Occasional Papers in Linguistics Volume 13 University of Massachusetts Occasional Papers Volume 13 Article 10 1990 Phonology of Sino-Japanese Morphemes Koichi Tateishi University of Massachusetts, Amherst Follow this and additional works at: https://scholarworks.umass.edu/umop Part of the Linguistics Commons Recommended Citation Tateishi, Koichi (1990) "Phonology of Sino-Japanese Morphemes," University of Massachusetts Occasional Papers in Linguistics: Vol. 13 , Article 10. Available at: https://scholarworks.umass.edu/umop/vol13/iss1/10 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in University of Massachusetts Occasional Papers in Linguistics by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Tateishi: Phonology of Sino-Japanese Morphemes PHONOLOGY OF SINO-JAPANESE MORPHEHES* Koichi Tateishi University of Massachusetts, Amherst O. Introduction Japanese has four major classes of morphemes-Yamato (those whose origin can not be detected neither in foreign languages nor in mimetic morphemes), Sino Japanese (borrowings from non-modern Chinese dialects), foreign (borrowings from non-Chinese languages), and mimetic (onomatopoeia, idiophonic morphemes). Works by McCawley (1968) among others assume four fairly modular classes of morphemes for them which have distinct though partially overlapping phonemic inventories. It just This paper is 8 revised vertdtm of a paper I wrot.e in March. 19S6, aasically. I kept. intact basic claims and discussions of the $0 only changes I made te the earlier version Are dispositional. In the earlier of writing this paper. disctls- $lons with Junko Ito, Jol1n HcCarthy. and Elisabeth were invaluable. -
Japanese Native Speakers' Attitudes Towards
JAPANESE NATIVE SPEAKERS’ ATTITUDES TOWARDS ATTENTION-GETTING NE OF INTIMACY IN RELATION TO JAPANESE FEMININITIES THESIS Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Atsuko Oyama, M.E. * * * * * The Ohio State University 2008 Master’s Examination Committee: Approved by Professor Mari Noda, Advisor Professor Mineharu Nakayama Advisor Professor Kathryn Campbell-Kibler Graduate Program in East Asian Languages and Literatures ABSTRACT This thesis investigates Japanese people’s perceptions of the speakers who use “attention-getting ne of intimacy” in discourse in relation to femininity. The attention- getting ne of intimacy is the particle ne that is used within utterances with a flat or a rising intonation. It is commonly assumed that this attention-getting ne is frequently used by children as well as women. Feminine connotations attached to this attention-getting ne when used by men are also noted. The attention-getting ne of intimacy is also said to connote both intimate and over-friendly impressions. On the other hand, recent studies on Japanese femininity have proposed new images that portrays figures of immature and feminine women. Assuming the similarity between the attention-getting ne and new images of Japanese femininity, this thesis aims to reveal the relationship between them. In order to investigate listeners’ perceptions of women who use the attention- getting ne of intimacy with respect to femininity, this thesis employs the matched-guise technique as its primary methodological choice using the presence of attention-getting ne of intimacy as its variable. In addition to the implicit reactions obtained in the matched- guise technique, people’s explicit thoughts regarding being onnarashii ‘womanly’ and kawairashii ‘endearing’ were also collected in the experiment. -
Koichi Matsufuji
KOICHI MATSUFUJI Solo Exhibitions 2019 COCONO Art Place Gallery, Fukui, Japan. 2019 Gallery O2, Kanazawa, Japan. 2018 DiEGO, Tokyo, Japan. 2017 Shizuoka Convention & Arts Center, Sizuoka, Japan. 2013 Gallery Cellar, Tokyo, Japan. 2010 Gallery Cellar, Tokyo, Japan. 2009 Gallery Cellar, Tokyo, Japan. 2008 Aichi Prefectural Museum of Art, Space 6, Nagoya, Japan. 2006 Gallery Plannet, Nagoya, Japan. 2004 Gallery Q, Tokyo, Japan. 2002 Gallery Ten, Kanazawa, Japan. 2001 Gallery Q, Tokyo, Japan. Selected Group Exhibitions 2019 “ Panoramic ” Daiichi Museum, Nagoya, Japan. 2019 “ 2019 KOGEI World Competition in Kanazawa ” People’s Gallery at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. 2019 “ BIENNALE TOYAMA ” Toyama Prefectural Museum of Art and Design, TAD gallery, Toyama, Japan. 2019 “ The Spirit of Toyama Glass ” Japan Creative Centre, Embassy of JAPAN, Singapore. 2018 “ LYRICAL TRANSFORMATIONS ” LEVANT ART, Shanghai, China. 2017 “ Spatial Arts 2017 in Art House Oyabe ” Art House Oyabe, Toyama, Japan. 2017 “ Aspects of Glass in Izu Highlands Art Festival ” Izu Kogen Hotel Five Stars, Sizuoka, Japan. 2017 “ Contemporary Art Competition in Art House Oyabe ” Art House Oyabe, Toyama, Japan. 2017 “ 2017 KOGEI World Competition in Kanazawa ” People’s Gallery at the 21st Century Museum of Contemporary Art, Kanazawa, Japan. 2016 “ TOYAMA GLASS -No limit No border- ” Toyama Glass Art Museum, Toyama, Japan. 2016 “ Kohei Kishimoto and Koichi Matsufuji Exhibition ” Seto Ceramics and Glass Art Center, Aichi, Japan. 2013 “ Aichi Triennale 2013 ” Curatorial Competition in Choja-machi District, Nagoya, Japan. 2007 “ Young Glass 2007 ” Glasmuseet Ebeltoft, Denmark. 2007 “ The Fires Burn On ” American Glass Museum, NJ, United States. 2006 “ For Rent! For Talent! 2 ” Mitsubishijisho Artium, Fukuoka, Japan. -
2 Mora and Syllable
2 Mora and Syllable HARUO KUBOZONO 0 Introduction In his classical typological study Trubetzkoy (1969) proposed that natural languages fall into two groups, “mora languages” and “syllable languages,” according to the smallest prosodic unit that is used productively in that lan- guage. Tokyo Japanese is classified as a “mora” language whereas Modern English is supposed to be a “syllable” language. The mora is generally defined as a unit of duration in Japanese (Bloch 1950), where it is used to measure the length of words and utterances. The three words in (1), for example, are felt by native speakers of Tokyo Japanese as having the same length despite the different number of syllables involved. In (1) and the rest of this chapter, mora boundaries are marked by hyphens /-/, whereas syllable boundaries are marked by dots /./. All syllable boundaries are mora boundaries, too, although not vice versa.1 (1) a. to-o-kyo-o “Tokyo” b. a-ma-zo-n “Amazon” too.kyoo a.ma.zon c. a-me-ri-ka “America” a.me.ri.ka The notion of “mora” as defined in (1) is equivalent to what Pike (1947) called a “phonemic syllable,” whereas “syllable” in (1) corresponds to what he referred to as a “phonetic syllable.” Pike’s choice of terminology as well as Trubetzkoy’s classification may be taken as implying that only the mora is relevant in Japanese phonology and morphology. Indeed, the majority of the literature emphasizes the importance of the mora while essentially downplaying the syllable (e.g. Sugito 1989, Poser 1990, Tsujimura 1996b). This symbolizes the importance of the mora in Japanese, but it remains an open question whether the syllable is in fact irrelevant in Japanese and, if not, what role this second unit actually plays in the language. -
The Languages of Japan and Korea. London: Routledge 2 The
To appear in: Tranter, David N (ed.) The Languages of Japan and Korea. London: Routledge 2 The relationship between Japanese and Korean John Whitman 1. Introduction This chapter reviews the current state of Japanese-Ryukyuan and Korean internal reconstruction and applies the results of this research to the historical comparison of both families. Reconstruction within the families shows proto-Japanese-Ryukyuan (pJR) and proto-Korean (pK) to have had very similar phonological inventories, with no laryngeal contrast among consonants and a system of six or seven vowels. The main challenges for the comparativist are working through the consequences of major changes in root structure in both languages, revealed or hinted at by internal reconstruction. These include loss of coda consonants in Japanese, and processes of syncope and medial consonant lenition in Korean. The chapter then reviews a small number (50) of pJR/pK lexical comparisons in a number of lexical domains, including pronouns, numerals, and body parts. These expand on the lexical comparisons proposed by Martin (1966) and Whitman (1985), in some cases responding to the criticisms of Vovin (2010). It identifies a small set of cognates between pJR and pK, including approximately 13 items on the standard Swadesh 100 word list: „I‟, „we‟, „that‟, „one‟, „two‟, „big‟, „long‟, „bird‟, „tall/high‟, „belly‟, „moon‟, „fire‟, „white‟ (previous research identifies several more cognates on this list). The paper then concludes by introducing a set of cognate inflectional morphemes, including the root suffixes *-i „infinitive/converb‟, *-a „infinitive/irrealis‟, *-or „adnominal/nonpast‟, and *-ko „gerund.‟ In terms of numbers of speakers, Japanese-Ryukyuan and Korean are the largest language isolates in the world. -
SHS Idea Share Handbook 2013 SDC Idea Share Submissions Thank You to Everyone Who Contributed to This Year’S Idea Share
2013 ALT Skill Development Conference Kagoshima SHS Idea Share Handbook 2013 SDC Idea Share Submissions Thank you to everyone who contributed to this year’s idea share. The following ideas are presented in alphabetical order by surname. Both the JHS and SHS Idea Share Handbooks can be found online at www.kagoshimajet.com/team-teaching-tips/ Teacher: Takahiro Arimura BOE/School: Kinkowan High School Title: Whose name is on your forehead? Objective: Get used to the usage of relative nouns Grade Level: SHS Skill Focus: Speaking/ Grammar Summary: Have the students get into groups of 3 or 4 people. Give each student a piece of paper. Each student writes a person’s name on it (any person will be ok). Then, each student gives the piece of paper to the student to his or her left in the same group. In this case, they have to take care not to see the name of the person on the given piece of paper. They put the piece of paper on their forehead so that everyone else can see the name. They take turns to ask the other students for hints to find out whose name is on it. When asking, the question form must include relative clauses: Is this the person who~?; Is this the person whom~? and so on. The first student who has found out the name of the person on their forehead is the winner. Teacher: Terrance Brown BOE/School: Okuchi SHS Title: Sentence Hunt Objective: Review grammar patterns Grade Level: JHS/SHS Skill Focus: Reading/Writing/Speaking/Listening Summary: Before the class prepare a series of sentences that are either based around a grammar point or a format that you are looking to teach your students. -
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. -
Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
Piller Language-Ideologies.Pdf
Language Ideologies INGRID PILLER Macquarie University, Australia Many people from around the world are likely to agree on the following: English is the most useful language for global commercial, scientific, and cultural exchange. The best kind of English is spoken by native speakers, particularly those from the United King- dom and the United States of America, and everyone else should try to emulate their English. American English sounds professional and competent, while African Ameri- can English sounds streetwise and cool and Indian English sounds nerdy and funny. While most readers will recognize these commonsense assumptions about English as a global language, it is also easy to see that they are nothing more than beliefs and feelings and that they are impossible to confirm or refute. This is most obvious in the case of value judgments about accents: Whether you think that Indian English is funny or not depends on who you are and what your experiences with Indian English are. If you are a speaker of Indian English, it is unlikely that you consider it funny; conversely, if you regularly interact with Indian speakers of English, you are unlikely to find the way they talk funny. On the other hand, if your main exposure to Indian English is through the character of Apu in the animated television series The Simpsons,youarelikelyto find Indian English very funny. While it is relatively easy to see through the idea that “Indian English is funny,” it is a bit more difficult to question some of the other assumptions in the introductory example, such as its many language names: The meaning of terms like “English,” “Amer- icanEnglish,”“AfricanAmericanEnglish,”or“IndianEnglish”isnotasstraightforward as it may seem. -
Intonation in Ryukyuan: with Reference to Modality, Syntax, and Focus
Language Documentation and Description ISSN 1740-6234 ___________________________________________ This article appears in: Language Documentation and Description, vol 10: Special Issue on Humanities of the lesser-known: New directions in the description, documentation and typology of endangered languages and musics. Editors: Niclas Burenhult, Arthur Holmer, Anastasia Karlsson, Håkan Lundström & Jan-Olof Svantesson Intonation in Ryukyuan: with reference to modality, syntax, and focus YASUKO NAGANO-MADSEN Cite this article: Yasuko Nagano-Madsen (2012). Intonation in Ryukyuan: with reference to modality, syntax, and focus. In Niclas Burenhult, Arthur Holmer, Anastasia Karlsson, Håkan Lundström & Jan-Olof Svantesson (eds) Language Documentation and Description, vol 10: Special Issue on Humanities of the lesser-known: New directions in the description, documentation and typology of endangered languages and musics. London: SOAS. pp. 177-207 Link to this article: http://www.elpublishing.org/PID/118 This electronic version first published: July 2014 __________________________________________________ This article is published under a Creative Commons License CC-BY-NC (Attribution-NonCommercial). The licence permits users to use, reproduce, disseminate or display the article provided that the author is attributed as the original creator and that the reuse is restricted to non-commercial purposes i.e. research or educational use. See http://creativecommons.org/licenses/by-nc/4.0/ ______________________________________________________ EL Publishing For more EL Publishing articles and services: Website: http://www.elpublishing.org Terms of use: http://www.elpublishing.org/terms Submissions: http://www.elpublishing.org/submissions Intonation in Ryukyuan: with reference to modality, syntax, and focus Yasuko Nagano-Madsen 1. Introduction1 Ryukyuan is a sister language to Japanese and is said to have branched from Proto-Japanese-Ryukuan. -
Shared Literary Heritage in the East Asian Sinographic Sphere
Shared Literary Heritage in the East Asian Sinographic Sphere Oxford Handbooks Online Shared Literary Heritage in the East Asian Sinographic Sphere Wiebke Denecke and Nam Nguyen The Oxford Handbook of Classical Chinese Literature Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian Print Publication Date: May 2017 Subject: Classical Studies, Ancient Prose Literature Online Publication Date: Apr 2017 DOI: 10.1093/oxfordhb/9780199356591.013.33 Abstract and Keywords This chapter traces the origins and nature of the shared literary heritage in the East Asian “Sinographic Sphere,” namely China, Korea, Japan, and Vietnam, focusing on developments before the early modern period, in keeping with the temporal and thematic scope of this handbook. It explores modes of cross-cultural communication and textual culture conditioned by the Chinese script, including gloss-reading techniques, “brush talk,” and biliteracy; surveys shared political and social institutions and literary practices, sustained by the flourishing book trade; and touches on the rise of vernacular literatures, the dynamic between Literary Chinese and local vernaculars, and the role of women. With the recent death of Literary Chinese as the lingua franca of East Asia we are facing a new phase in world history. The Chinese-style literatures of East Asia point to cultural commonalities and tell stories of creative engagement with Chinese literary history that offer insights about Chinese literature. Keywords: Sinographic Sphere, East Asian literatures, vernacular, biliteracy, East Asian women writers, logographic scripts, gloss-reading, Japanese literature, Korean literature, Vietnamese literature Page 1 of 27 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2015. -
Language and Culture Chapter 10 ぶんか にほんご 文化・日本語 Culture Bunka/Nihongo
Language and Culture Chapter 10 ぶんか にほんご 文化・日本語 Culture Bunka/Nihongo ぶ ん か 文化 Bunka This section contains a brief overview of some aspects of Japanese culture that you ought to be aware of. If you would like to learn more about Japanese culture, there are a great many books on the subject. This overview is simply meant to help make your life in Japan a little bit easier. The best way to learn proper Japanese manners is to mimic those around you. Etiquette While Eating Like every other country, Japan has specific etiquette for mealtimes. When out to eat with Japanese friends or coworkers it is important to be aware of what is considered rude. いただきます itadakimasu. After sitting down to a meal, and just before beginning to eat, many Japanese will put their hands together, much like how Christians pray, and say itadakimasu. It is not actually a prayer, however, and literally translates as “I humbly receive this.” When out at a restaurant, it is not uncommon for the meals to come out as they are prepared, which may mean that you get your food before your companions, or they will get theirs first. Do not be surprised if they tell you to start eating or begin eating when the food comes. This is just Japanese custom. Generally before digging in you should say something like おさきにすみません osaki ni sumimasen, which means, “excuse me for going first.” They may urge you to eat. If this makes you uncomfortable it is perfectly ok to explain that in your culture you wait until everyone gets their food before eating, but they will not think ill of you for starting without them.