EDIT 2: Fixed

I fixed the forum issues; there should be a clear registration button in the top left corner for new members.

Edit: All Video Tutorials are now online and working. Please let me know if you guys find any broken links or images.

Edit 2: All Tricking Samplers are now online and working.

Edit 3: Updated my author page with the hyperlinks promised from a long time ago.

YEA!

J-Shelf: N.P.

np

Title: N.P.

Author: Banana Yoshimoto

Publisher: Grove

Year: 1990 (Japan), 1994 (US)

 

Banana Yoshimoto is one of the most famous Japanese writers in translation. Her works exploded in America in the nineties, and she has continued to see success in America, Japan, and elsewhere around the world. Her stories usually involve modern young women (and men) having to deal with the complexions of everyday life. In, N.P., Yoshimoto delivers another solid narrative with an equally compelling cast of characters. It is a result that is at once Breezy, controversial, and entirely thought provoking.

 

Within the story itself, N.P. is the name of a book of short stories from a Japanese writer who had been living and writing in America. However, every time someone has tried to translate these stories into Japanese, the translator mysteriously died. The narrator is a girl in her twenties whose boyfriend had committed suicide after trying to translate the stories. She comes into contact with the writer’s son and daughter, and then another mysterious girl enters the picture. Through a web of pain and guilt, the characters find their lives crashing together at an alarming pace.

 

The premise for a book that seemingly kills off the translators who all attempt to work on it is a pretty interesting idea, but that’s really just the way Yoshimoto is able to jump start the story to get to the heart of the matter: the complex and damaged characters surrounding the stories. I was really surprised at how connected all the characters were, and how much suffering seemed to follow them around. This is all beautifully contrasted with Yoshimoto’s smooth as silk story telling which comes across quite well in the translation.

 

And while things do flow very beautifully, there is a sense that this covers much of the same work as her other stories. A new set of characters with a new set of problems, but the execution is fairly consistent with her other work. This isn’t a bad thing mind you; think of it more as a familiar experience when reading her work. You really get a sense just from the first chapter that this will be another Banana Yoshimoto story, and there’s nothing wrong with that.

 

With a story revolving around suicide, pain, and inappropriate relationships, N.P. is a surprisingly brisk read. While it’s easy to digest the material from her novels, Yoshimoto’s work has a tendency to resonate and stick with readers long after they have turned the final page. This book is no exception.

 

Tune back in next time for another review!

Tokyo Swan

 

If you liked this you may also enjoy: Kitchen: Banana Yoshimoto, Sputnik Sweetheart: Murakami Haruki.

Finally, Finals

Hello friends, Dogentricks.com here.

I’ll be done with my last winter quarter at UW this Wednesday. Until then, I’ll be studying my heart and soul out. Can’t wait for spring, sakura, and quad tricks this April.

I plan on doing a lot of work to the website over break, including fixing links and touching up all the old blogs.

Hope everyone is doing well.

Train hard.

な and ね – An analysis

Hello friends, Dogentricks.com here.

This is my analysis of な vs. ね in Japanese colloquial speech. Its a bit stuffy, but I encourage those with an interest in 日本語 to check it out. This will mostly likely be the last major paper I write as a student.

Train hard.

Though there is a significant amount of research in regards to sentence final particles and their role in Japanese, there is a noticeable lack of information surrounding the informal particle な. The purpose of this paper is to expose the role of な in Japanese, especially in comparison to sentence final particle ね. This will be done through comparing documented research on the particles ね and な with their occurrence in several native speaker dialogues. In his paper, な refers explicitly to the sentence final particle. Thus, it should not be confused with the various other functions of な, particularly the negative command form, V(Plain)+な, or the な adjective.

Todd and Erika Geers (1988) indicate な as the male equivalent to the sentence final particle ね, as expressed through several clear examples. Geers (p. 18) translates the English phrase, ‘That’s right!’ as そうだね, usable by both males and females. そうだな, on the other hand, is a form, according to Geers, usable only by males. Another straightforward example of this phenomenon is found in a translation of the English, ‘Maybe.’ Geers (p. 20) again indicates たぶんね as a gender free phrase, while たぶんな is markedly male. These phrases are significant because the only distinction that keeps them from being identical is the sentence final particle. That is to say, it is specifically な that makes the phrase markedly masculine. A particularly interesting phenomenon occurs in the translation of the English phrase, ‘That was good.’ While ね is often thought to be gender free, in the instance of 良かったね, The phrase becomes markedly female, in contrast to the male counterpart, 良かったな (Geers, page 23). Similarily, ‘Definitely!’ is be translated as 本当にそうよね, a marked female form, while 本当にそうだよな is another, according to Geers (p. 19), male form. Constantine affirms the use of な as a masculine sentence final particle with several implicit examples, such as: 俺 は てっきり あの ちいんちぇんでは この辺 のこと知ってると思ったんだがなあ (Constantine, 1994, p. 22). 俺, in this example, makes it clear this is a phrase used by males. In his 1992 work, Constantine provides a definition of な in relation to ね. な and なー are “the rough and masculine sounding version of ね and ねー” (Constantine, 1992, p. xxi). Thus, based on the research presented, な is defined as the masculine equivalent to the female particle ね.

Using this definition, the functionality and conditions for using な will now be analyzed through direct analysis of particle ね. Lee’s 2007 study explores the use of ね and よ in Japanese as tools of involvement. His abstract states, “the particles commonly share the function of signaling the speaker’s attitude in order to invite the involvement of the conversation partner” (p. 363). To be specific, Lee explains, “ね invites the partner’s involvement in an ‘incorporative’ manner, by which the speaker is committed to align with the partner with respect to the contents and feeling conveyed in the utterance” (p. 363). Therefore, な can be explained as male only instance of the sentence final particle ね; な is a tool by which male speakers encourage the partner’s participation in an incorporative way. In terms of conditions, Lee explains ね in the following manner:

“Provided that ね indicates the speaker’s attitude of inviting the involvement of the other party, the use of the particle is crucial if the following two conditions are fulfilled: (i) The main concern of the speaker is to align himself with the partner in respect to the utterance contents. (ii) The speaker assumes that the partner will also fully understand the content and feeling of the utterance. Condition (i) is essential; if this condition is met, while condition (ii) is not satisfied, the use of ne is optional” (Lee, 2007, p. 373).

Using Constantine’s 1992 definition of な as a masculine version of ね, Lee’s conditions for ね are thus also applicable to な, albeit restricted to use only by men.

The use of な will now be analyzed through several native speaker conversations, as transcribed by Ohta’s 2009 Japanese 443 class. In my analysis of the conversation ‘Keitai1.mov,’ (CALPER, 2009) な is used in the following way: 41: T: a mata meeru ga kichatta hayai na henshin. T, in an unmarked, spontaneous utterance, reflects on the speed of which his message was replied. It should be noted that な here is also used as defined by Lee (2007), as T is seemingly inviting group involvement. This is clear, as T’s mention of the reply is a direct extension of his earlier statement: 22: T: ara meeru ga kichatta. T’s use of Ara, in addition to his leaning towards the group and raising of his cell phone, appears to be a means of getting the group’s attention. T seemingly wants to create humor, which he succeeds in doing, by making a satirical joke commenting on the use of cell phones, while the group discusses cell phones. Subsequently, な, as used in 41, can be interpreted as T’s way of attempting to prolong the joke and encouraging group involvement and laughter, as he smiles and jokes about the speed of the reply. Another interesting example comes in line 57: T: ma daichi tegami toka kakane mon na, 60: S: zettai kakane ne, and 61:T: kakane yo //na. T’s use of な elicits S’s aligned response in line 60 and thus supports Lee’s (2007) theory of involvement. Furthermore, this is a prime example of Geer’s (1994) classification of な as a sentence final particle that makes the phrase distinctly masculine. Though S, in line 60, also applies the ね ending to her verb 書く, she distinctly produces the ね sentence-ending particle to finish her phrase. T, on the other hand, uses な in both instances. The phrases are nearly identical except for the use of な vs ね. This supports the evidence noted earlier; な is essentially adding a masculine tone to the ね particle; their functionality is indistinguishable.

In Javier’s analysis of ‘GiftA.mov,’ (CALPER, 2009) there are two examples of な being used in alignment with conditions listed above. The first example comes in line 45: K: [giri choko tte no wa na:[: (uttered by male speaker), and again in line 112: K: [nodoame de howaito dei tte sugoi na (same speaker). However, also in Javier’s analysis is an example of a female using な, as shown in line 108 and 109: Y: a zutto mattetan dakedo nodoame demo ii no ni na::[ to omottetan dakedo ((while smiling and making a cute, joking gesture with her hands)). This is the only point in this dialogue, or any of the dialogues for that matter, that な is used by a female speaker as a sentence final particle. It is important to note Y uses ね throughout the rest of the dialogue, for example in lines 22 : Y: [giri choko to ka sa ne, 44: Y: un:: giri choko [ne:!, and 46 [kaisugi da yo ne:.

Is Y’s use of な an exception? Before analyzing this instance of な、it is necessary to review Cook’s 1996 report on the spontaneous and disciplined modes of self. Cook explains the existence of two self-speech modes. Spontaneous speech is unmarked, natural, and typically expressed through the plain form Japanese (Cook, 1996). The disciplined form is marked, controlled, and usually expressed with the です/ます form (Cook, 1996). Though this instance of な does not perfectly coincide with Cook’s explanation of disciplined speech corresponding to the です/ます form, the articulation and context of lines 108 and 109, in addition to the physical gestures, suggest な in this instance is a marked, non-spontaneous speech act.

Y’s utterance: 108: a zutto mattetan dakedo nodoame demo ii no ni na::[ to omottetan dakedo, translates to ‘Though I waited forever, I would have been happy with just cough drops!’ which is said in response to her male counterpart’s utterance: 106: K: wasurechatta ((grins)), translated as, “Oops, I forgot to give you something.” Apparently, K has forgotten to return Y’s chocolate, or he simply did not prioritize it as something important or necessary, as is amplified by his grin. Y’s comment, ‘I would have been happy with just cough drops!’ in addition to a smile and cute hand gesture, creates a markedly humorous atmosphere that seems to indicate her lack of any actual anger or disappointment. The statement thus comes across as a joke, as most women would certainly be disappointed in receiving such a gift on White Day. K’s spontaneous laughter in line 110 further supports Y’s statement as being a blatant joke. な, thus, can also be interpreted as part of the joke, making it an explicitly marked form. That is to say, had Y truly been angry at K for not giving anything to her on valentines day, it is likely she would have not made a joke about cough drops, or utilized the particle な. It is then な itself that makes it more obvious her statement is, in fact, a joke. This is Y’s only use of な in the dialogue, and stands out against her unmarked, frequent use of ね, providing further evidence of な as a marked form in line 109.

From the information available, there was only one instance of a woman using the な sentence final particle. In this case, な came in the form of a joke and appears to be a marked statement. Thus, though there may be instances of woman using な as a sentence final particle that exist outside the data of this paper, based on the dialogues available, な coincides with the previous research presented. That is, な is a sentence final particle usable by men in natural, unmarked statements to encourage partner involvement. The CALPER dialogues used in Ohta’s 2009 Japan 443 class support this information.

References
CALPER’s Learning through Listening Japanese Materials Bank (2009). Available from CALPER’s Learning through Listening website: http://calper.la.psu.edu/learningthroughlistening/index.php
Cook, H. M. (1996) Japanese Language Socialization: Indexing the Modes of Self. Honolulu: University of Hawaii Press.
Constantine, P. (1994) Japanese Slang Uncensored. Tokyo: Yenbooks.
Constantine, P. (1992) Japanese Street Slang. New York: Tengu Books.
Geers, E., Geers T. (1988) Making out in Japanese. Tokyo: Yenbooks.
Lee, D.Y. (2006) Involvement and the Japanese particles ne and yo. Journal of Pragmatics, 39, 363-388.
Yonekawa, A. (1992) Beyond Polite Japanese. Tokyo: Kondansha International.

J-Shelf: The Box Man

Title: The Box Man

Author: Abe Kobo

Publisher: Vintage

Year: 1973 (Japan), 2001 (US)

theboxman1

 

This week in J-Shelf we’re going to be taking a look at one of Japan’s most famous authors : Abe Kobo. Before Murakami Haruki exploded in popularity in the late eighties, Abe was seen as one of the most imaginative and intelligent authors to have his works translated into English. Many of his works have also seen movie adaptations, with the most famous probably being The Woman in the Dunes. Today, we are going to look at The Box Man, a novel written in the latter half of Abe’s career. Like many of his novels, Abe was really writing (wait for the obvious pun) out of the box.

 

The Box Man is a story all about identity and perception. It’s philosophical, comical, and sexual while playing with the nature of who people really are. The main story involves a man who one day decides to become a box man. He puts a large box over his head, cuts out holes for eyes, and decides to walk the streets of Tokyo. Obviously, box men are not yet fully accepted by society yet, and so he runs into various problems with gun-toting angry citizens and stripping nurses.

 

The narration is set up as the scribbled journals of the box man, as he comes to grips with the reality around him and his very self. The nameless narrator is a likable guy who speaks casually about his new box man existence, but despite the simple tone of his language the book deals with so many complex ideas and metaphors that it really is quite an amazing and also challenging read. This is the fourth Abe book I’ve had the pleasure of reading, and in many ways it was the most difficult to grasp what was going on because of the narrative structure and the content of the story.

 

Of course, that is in no means meant as a criticism against the book, as I find that with most of Abe’s work I am initially a bit confused after reading but through time I come to appreciate the nature of his genius more and more. My first encounter with his work nearly 4 years ago with the equally compelling detective story The Ruined Map, would prepare me for this phenomenon with his writing. Of course, once the book starts throwing out “fake” versions of the characters it does require the reader to really think deeply about the novel, and I think those looking for fiction with interesting things to say about reality and identity will love this book.

 

While not my favorite work from Abe (that honor goes to Secret Rendezvous), The Box Man was easily one of his most bizarre, and with a body of work like Abe’s that’s really saying something. Interspersed throughout the fragmented narration are pictures with captions that also seem to further blur the exact reality that is taking place in the book. It all culminates into an impressive look at who we really are as people, and perhaps, who we really want to be.

 

Now if you’ll excuse me, I need to put my box back on and wander the streets. See you next time!

Tokyo Swan

If you liked this you may also enjoy: The Ruined Map: Abe Kobo, A Wild Sheep Chase: Murakami Haruki

I am.

Hello friends, Dogentricks.com here.

It is 2:37 AM on March 1, 2009. I am alone; I feel free and peaceful.

I am a number in society and I behave as that figure while in such a setting.

I am floating in my mind miles from the ordinary.

I am Dogentricks.com.

I am all of the above and more than anything else, I feel the need to write.

I am going through a very strange stage in my life. To be more specific, I feel the way which I view the world and the people around me is gradually changing. Everyday I wake up and feel a little bit less like myself, or at least the self I once was. This metamorphosis began May 1st, 2008.

I had just come out of the shower and felt fantastic. Anxious to check my mail, I walked to my computer, which dully illuminated the dark room in a soft white glow. Of course, before I do anything I my computer, I need music. iTunes’ Random flipped on Supercar’s Yumegiwa Last boy, the pool sweeping song of my youth. I became curious and did a search of Supercar on youtube. May 1st, 2008 was the first day I ever heard “Warning Bell.” To be more specific, I came across the Last Live version on Youtube. This is that video – I encourage you to sit alone in a quiet, dark room and watch. Release your preconceptions and experience the indescribable emotion embedded in this song. Let yourself go.

I felt absolutely dumbfounded after watching this video. It was as if a flood of feelings, an avalanche of ideas, a rush of unexplainable energy swept over my body and enveloped my mind. It was as if the song wiped and rewrote my concept of life. Everything I knew, every fact I had ever learned, every piece of information I had read, heard, or experienced in my until then 20 year existence was seized and completely erased. It was as if I had been reborn.

After the video ended, I wiped the tears from my cheeks, stood, and slowly walked towards my bed. In a breathless joy, I collapsed onto the the soft futon and immediately fell into a deep sleep. When I woke up the next morning, I was sure the whole experience had been a dream.

It was not a dream. I watched the video the again and immediately returned to the dream-like state. It felt good.

To be honest, I was scared to tell anyone about it. First, I wasn’t even sure how to describe it. “Have you ever zoned out?” isn’t enough because it doesn’t capture the beauty of the state. “Have you ever been in a trance?” doesn’t work either because it fails to communicate the entirely conscious aspect of the condition. Moreover, I expected even a suitable description would be answered by harsh, if not doubtful words. I eventually spoke with someone about it later, but was met with a tone of akward denial. Incidentally, most of my close friends do not read this website, and know little about the inner workings of my mind.

That is to say, I am usually quite a different person on my website and in reality. This is the result of preconceptions. Not surprisingly, I am often surrounded by people who have known me for several years. Those who lack previous knowledge are typically individuals I meet through friends and acquaintances. As a result, they develop a portrait of my behavior through the eyes of our mutual connection. Thus, my existence is reaffirmed by that which is seen and heard by others and not by which is thought and possessed by myself.

In realizing this, I have come to truly treasure the opportunity of meeting completely new people — such is a chance to create an impression accurate to myself. Then, in a sort of bittersweet and backward fashion, those who know me least become those who know me best, while those who have known me for ages are left with the image of Dogentricks.com they have known for so long. This creates a sort of divided energy which exists in my being and seeks release.

p1010557

I hope to use this knowledge of myself and recreate the best me. With any luck, I can bring some form of joy and inspiration to others.

Oh dear it is now 4:32 AM. Part of me really wants to finish writing this blog, but another part says, “Dogentricks.com, it is 4:33 AM. You should sleep because that is the correct choice.” We will go for the in-between. I hope you enjoy this very incomplete, incoherent, and impossible blog, which is probably full of typos, not to mention an introduction and body with enough momentum to drive a young man mad! Doh!

Anyway, thanks everyone for reading this. I appreciate every pair of eyes which reflect these words.

Train hard.