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Jazz Up Your Japanese with Onomatopoeia: For All LevelsBy Hiroko Fukuda
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Onomatopoeia is one of the most outstanding features of the Japanese language. Its acquisition is essential for students who wish to speak (or understand) natural Japanese, read literature or manga, or watch anime in the original. The problem is that Japanese onomatopoeic words are so different from their English equivalents (words such as pop, bang, splat, and squeak) that they are extremely hard to remember and put into practice.
The book begins with an introduction that outlines what "onomatopoeia" means in both English and Japanese. It covers sound and meaning in general, onomatopoeia in English, sound symbolism in English and Japanese, Japanese onomatopoeia and mimesis, types of Japanese onomatopoeia, grammatical functions of Japanese onomatopoeia, Japanese written forms, and how new Japanese onomatopoeic words are formed (for example, in manga).
This introductory material is all-important, for without the overall picture it presents, students are forced to learn Japanese onomatopoeia by rote, one word at a time, as if each was unique unto itself, as if each had no logical connection with any other word, and as if Japanese onomatopoeia was a huge, ugly hodgepodge instead of the beautiful, well-organized microcosm that it is.
However, this introduction alone would not suffice to produce fluency. Onomatopoeia must be seen in action for that to happen. This is done in the second part of the book, which consists of eleven situational dialogues that allow students to eavesdrop on Japanese speaking the way they do in real life. The dialogues are given in Japanese script (with furigana over all kanji), romanization, and English translation. Each example of onomatopoeia that appears in the dialogue has its own commentary, including definitions, usage, and two or more sample sentences. Cultural notes are given when they help to clarify the situation presented in the dialogue. Each dialogue is followed by a quiz.
With its edifying introduction and lively dialogues, Jazz Up Your Japanese with Onomatopoeia: For All Levels will, without a doubt, help students come to grips with this intriguing aspect of the Japanese language, whether they be intermediate students who can benefit from seeing onomatopoeia used in a variety of situations or beginning students who, as they slowly add new onomatopoeia to their vocabulary, will profit from seeing how these words fit into a larger, fully developed scheme. The book will also, whatever the level, make Japanese much more fun to study.
Previously published in Kodansha International's Power Japanese series under the title Flip, Slither, & Bang: Japanese Sound and Action Words (1993). Now with a new introduction and quizzes.
- Sales Rank: #764479 in Books
- Published on: 2012-11-16
- Original language: English
- Number of items: 1
- Dimensions: 5.20" h x .80" w x 7.40" l, .90 pounds
- Binding: Paperback
- 238 pages
From the Inside Flap
This book is an introduction to onomatopoeia and mimesis in Japanese through real-life conversations and examples. While presenting some of the most common sound and action words, I've added several other features to make the book even more useful.
The language in the book is natural spoken Japanese. Many people who study outside of Japan get a rude awakening when they first visit: they donÕt understand what anyone is saying. The reason is that the language they've learned from textbooks is stiff and unnatural, often unlike what is heard in everyday life. As a countermeasure of sorts, the conversations and examples given here are all in an informal spoken style, with a balance between women's and men's language. When you read this book, I hope you will feel as though you're having a nice friendly chat in Japanese, the way it would be done if you were talking to an actual person.
The topics show the real Japan. Contrary to popular belief, few Japanese have much to do with geisha, trade negotiations, or Mt. Fuji during their daily lives. The subject matter taken up in this book show what people actually talk about at home, at work, and at play.
Each of the main vocabulary items is marked G, N, or B (Good, Neutral, or Bad, to show if its sense is positive, neutral, or negative). After all, nothing is more embarrassing than to use a word that has the right meaning but the wrong connotation.
Brief notes provide information on cultural background. Every language is an essential part of the culture of the people who speak it, a window on the country's history and ways of thinking. That's why every language is different and difficult and fascinating. Learning another language is worthwhile because it gives you a link to other people, both as a vehicle for sharing ideas and as a practical tool for everyday life. But to master a language, you need more than grammar and vocabulary, so I've scattered notes throughout this book to provide some basic information about Japanese life and customs.
Typical Japanese names are used in the examples. It's hard to remember unfamiliar names in a foreign language. To help you out in this regard, I've made a point of using the ten most common surnames and a variety of common given names.
Illustrations show the settings of each conversation. If you've never visited Japan, these drawings should help you visualize the speakers and their surroundings.
You can read the book in any order. Some people always start on the first page of a book and read straight through to the last. If you prefer to skip around, though, go right ahead. Read the dialogues first or save them for later. Or use the index to look up particular words of interest.
Finally, I would like to express my appreciation to Kodansha International editors Michael Brase and Shigeyoshi Suzuki, who encouraged me to write this unwritable book, and to Tom Gally, who not only translated the book but also wrote the Introduction. I would also like to thank Joe D. Betts and Robert J. Betts for their timely advice.
About the Author
HIROKO FUKUDA, born in Tokyo, graduated from Keio University with a major in Japanese literature, after which she studied the teaching of Japanese as a foreign language in the International Division of Aoyama Gakuin University. After working as an editor, Japanese teacher, translation coordinator, and program director of language courses, she undertook the study of Applied Linguistics and Communication at the Graduate School of Aoyama Gakuin University. She is a frequent contributor to magazines and journals and has published several books on language, culture, and communication, including T-Shirt Japanese Versus Necktie Japanese: Two Levels of Politeness. She is currently Associate Professor at the College of Humanities of Ibaraki University and also teaches at Aoyama Gakuin University.
Excerpt. © Reprinted by permission. All rights reserved.
Introduction An Overview of Onomatopoeia
[Here are the opening pages of the Introduction. The Japanese script appearing the book has here been replaced by X's.]
Introduction Contents:
* Sound and Meaning; Onomatopoeia in English
* Sound Symbolism
* Onomatopoeia and Sound Symbolism in Japanese
* Sound Symbolism in Japanese Vowels
* Sound Symbolism in Japanese Consonants
* Words Beginning with Chi, Indicating Smallness or Quickness
* Onomatopoeia and Mimesis
* Types of Japanese Onomatopoeia
* Grammatical Function
* An Essential Part of Japanese
* Written Forms
* Making Up New Words
OnomatopoeiaÑthe use of words whose sounds suggest their meaningsÑis one of the most enjoyable and fascinating features of the Japanese language. With onomatopoeia, you can express a vast range of meanings in many situations. Onomatopoeia is also, however, one of the hardest parts of the language for English speakers to master, simply because it is so different from English onomatopoeia. Nevertheless, you need to come to grips with it in order to speak and understand Japanese properly.
This first chapter outlines the main features of Japanese onomatopoeia together with the related concepts of sound symbolism and mimesis. Here we will give you the large picture, leaving the details to the situational dialogues in the rest of the book. The big picture can be summarized thus: Japanese onomatopoeia is a well-developed, intricate system, a world unto itself. It is based on imitating natural sounds, but it also mimics, or represents, conditions and states that produce no sound at all. The words making up this system have not been created in a random manner, but follow certain rules and conventions. The vast majority of these words are not general purpose words (like XXX totemo very) that can be used relatively freely; they are, on the contrary, specific in meaning and restrictive concerning which words they combine with. Further, many of these words have more than one meaning or sense and can be used as more than one part of speech.
With the larger picture as given below in mind, you should find it much easier to understand, acquire, and reproduce Japanese onomatopoeia. This is no small thing, for onomatopoeia is one of the most fundamental, characteristic, and lively aspects of the Japanese language. For native Japanese speakers, onomatopoeia are not just words; they are windows through which they view the world. These words represent, to a considerable extent, the Japanese perception of life.
Before going on to take a closer look at Japanese onomatopoeia, however, let's first take a look at the relationship between sound and meaning in general.
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