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M A N G A J I N
Manga
BUSINESS MANNERS
No. 26
.JACK SEWARD'S
OUTRAGEOUS
JAPANESE
An Interview with
San1 Jan~eson
Los Angeles Times Tokyo Bureau Chief
In Japan they always give you a shave as
part of the haircut. T he barber put the
chair down so that here I was lying totally defenseless. As J heard him sharpening the razor on the leather strap,
thoughts of "My goodness, what if this
guy wants revenge for the war?'' went
passing through my mind.
With over 30 years experience as whether I liked Japan or not, and I disforeign correspondent in Japan, covered quite quickly that in those days
very few ordinary Japanese spoke enough
Los Angeles Times Tokyo Bureau English to have any kind of association
Chief Sam Jameson is uniquely with, much less to develop any kind of
qualified to comment on the friendship with, Americans. (T his seems
American and Japanese press as to be the case today as well.) So I started
well as the trade, political, and studying with the relatively frivolous purpose of just enjoying as much of the resocial issues that now confront maining 19 months as I could.
Japan and the US. Mangajin associate publisher Greg Tenhover When did you decide to make Japan a
interviewed this legendary jour- career?
When I was in basic training, I knew
nalist during one of Mr. there was a chance I would go to Japan,
Jameson's recent trips to the US. so I began reading about what was going
What first brought you to Japan, and
what were your initial impressions?
I was drafted and sent to Japan as a
soldier in 1960. I had worked for the
Chicago Tribune for a year before I went
into the Army, so J was assigned to work
for Stars and Stripes. If J hadn't been
drafted, I probably never would have
gone to Japan, and mos t certainly
wouldn' t be here today.
The only thing I knew about Japan at
that time was that we had been enemies
in World War II. The most vivid example
of where my knowledge was when I first
arrived was when I went to get a haircut.
drafted = ~~~h. t~ chiihei sareta vivid = 1:.4 t L t~ iki-iki to shira revenge = &.CJ~kushii frivolous = -'I'Jtilii 13 ft fumajime-na basic
training= (ilf.Ji<Q))ilt!illlllll** (shinhei no) kiso kunren US-Japan Security Treaty = 8 :l:'ti:.'~fi1'1~~*9 Nichi-Bei Anzen HoshO Joyaku atrocious= ~
maualw hidoi sole thrust = \lft - Q)~-~ yui'irsu no shiiten sentiments "'1l~ I ~111 iken I kanjo unilateral= - 1J(f)ft ipporeki-na
unilateral passage =(-IP-~)5~qjf*~ (randoku) kyokiJ saikersu backhanded compliment = & I~ 1t J:l ill:iW hiniku-na oseji roster= t.l'i meibo
( (} c'v'
10
MANGAJtN
Feature Story
In t he early days, how did the Japanese react to a foreign reporter who
could speak their language?
Well, with disbelief, I guess. But they
do react quite differently now. In the late
1970s the president of a Japanese trust
bank invited in foreign correspondents
who could speak Japanese, and gave us
something like an hour and a half briefing done only in Japanese. I think that
marked the turning point where it was no
longer a surprise to find a correspondent
who could speak Japanese.
~1fli kursl7 broadcast =h"lt~/-!lH!l. hosiilbangumi transliterate Japanese sounds into Roman letters
Nihongo rro oto o romaji de kakiara ...asu essential =.ll ~-1' uf './( ~ hitsuyo fukaketsu-na
agony=
= R :;fi:~!f(7) j'j ~ o- 7
'(:
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MANGA JIN
11
F ea tureSt o r y
\\ hich is fine the first time but the second time it shows he does n' t re member
you. He spe nt a ll three sessions looking
at the translator, which means he had no
e mpathy with me and I had no e mpathy
with him. There's something missing in
a human association when two people
don' 1 even look at each other.
The other thing is that if you are
speaJUng the same language there is a
greater possibility of getting a sen e as
to how honestly the person is speaking
to you. Even a perfect translatio n does
not get across that feeling.
nt
J apanese press clubs are often criticized because of the cozy relationship
they now seem to have with t he agencies, ministries, and organizations they
cover. What a re your views?
empa1hy =;)~~ kyr1kan be as1oundcd = <r.~ T 1oJ I (!p .J;;"t 1oJ gaku:en to suru I gl'iJten suru inlervicwee = 1 / -1 ~ .:1.- i' 'i"lt 7;, A intabyu
o ukeru !Jito 1idbi1s = <t!:1 fR if)) ltlr H ljiJ!Jli no) danpen profound di.fference = i:J/: i.E((~ lj: ~ "' ket!eiteki-11~ ciligai burden = f. I IT~ ?ort fi_ttan ( omoni
press c lub = ~~.r, 7 7 7" krs!Ja kuralm censorshrp = .fg(ll!J ken etsu spoon-fed = :J. 7"- / -ri:t"'- ~ {/; C, tt t.: 1\Hil'/J{_. )J (~~,_..g. A. C, ttt.:
supiin de tabesaserarera I jaM ga ippti-teki ni araerarera edic1 = 1JJ IYJ seimei q:orral = "? fJ' t .Z 1oJ tsukamaeru off 1he record=/];: P. L -r li lj: t? lj:
'. ' kiilriishite ..-a 11aranai cozy relmionship = llllttfr'-'(l(Jij:(lij(,f. 11areaiteki-11a kmrkei
12
MA NGAJIN
f!
F e a t u r e S t o r
In a presentation last year at the J apan-America Society of Southern California, Karel van Wolferen said "Serious political discussion based on honest analysis has all but disappeared
from Japanese publications.. .. The
citizenry has no effective say through
its politicians or through non-government institutions over how the coun(conrinued on page 71)
govcrnmcnl gazelles= '*II kanpo burcaucrals = 'tff);f kanryo slance = fi)Jd!'fifL tachibaliken consensus= ri:f: I )c ~~c7) '!JQ soi I daitasr7 no
iken abcrra1ion = {i~iiv' kokoroe chigai
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MANGAJIN
13
A Taste of Culture
Ekiben
"Station box
lunches" make
getting there
more fun
by
Elizabeth Andoh
Japan Airlines Photo by Morris Simoncelli
In today's jet-paced, high-tech world, business and leisure travele rs don' t usually worry about where their next meal
will be comjng from . But, when you stop to think about it,
transporting and preserving food without the benefit of refrigeration or swift transpo rt must have been a considerable
challenge to pre-modern socie ties. The Japanese response to
this challenge-obentQ-wa c lever, convenient, and obviously appealing since it hasn ' t changed all that much in the
last eight hundred years or so.
The word bellto
(the o- prefix is an optional "polite"
touch) seems to have come into use during the 12th century.
1r-*
It derives from two calligraphs meaning " for the time being"
(#i' J.> benzuru ). ln other words,
a bento was originally a light meal intended to stave off hunger. particularly while traveling, until a proper meal could be
eaten. Cul inary historians speculate that most bento of that
era were probably pressed rice cakes that might have been
accompanied by pickled vegetables or other bits of preserved
food. T oday, bento can range from a simple rice ..sandwich"
wrapped in bamboo leaves, to a rather elaborate menu artfull y arranged in a lacquered box.
With the industrialization of Japan at the turn of the 20th
century, railroads became an important part of Japanese life.
T he railroads transported people as well as manufactured
goods. It is thought that eki bento (Jf..1f*. usually hortened
to ekiben) or "train station boxed meals" began at Utsunomiya
station, north of Tokyo in Tochigi prefec ture, in 1885. There,
it seems, an e nterprising gentleman by the name of Saito Kahei
sold pressed rice cakes (i:> tr't {f omusubi) tuffed with pickled plums (tfi umeboshi) that he garnished with yellow pickled radish (iRII\t takuan ). Other entrepreneurs quickly followed
his lead.
Today, every major train statio n in Japan sells its own
variation on ekiben. Vendors hawk their wares on the station
platforms while young ladies bring their baskets and carts up
a nd down the aisles in the trains: "/kaga deshiJ ka? Obento
(~ 1'~. toza) and " make do"
meibutsu
Daruma Eklben from Gunma Prefecture
Photofrom Ekiben, by Komekura. Bosker & 1Vato11abe. 1989 Clrroflicle Books
derives from= 1: iJJ ~T 6 ni yuroi suru to stave off= I H;}(~~ 1: ft"' tf:l6 J., t'li1.1 t 6 ichiji-reki ni kuiromerulsakeru culinary historians= *1-flli5eiii(
nori shiko speculate = ~ T J., suiko Sl/nl elaborate = iJ,E? t~JT.).:; i' if( i? LJ: koualkufii 0 korashita at the tum of the 20th century =20fil: ~ q)
'B.:.v I) l/)q)t;t:l.20f!I:~~Jll!'i.llijusstiki 110 koworime 110 koro, nijusseiki slroro 'endor =%6 A . .: .: 't'IJ:1ftl'JC I) uru hiro. koko de .-a bemo-uri
hawk =Of-U'% I) T J., yobiuri suru ware= jfij,\-1, shiilrin commemorate= il~ZT 6 Jlll-1 kine11 suru I 111'011
----------------------~
14
M ANGAJt N
Ta s teofCulture
Shizuoka station cha meshi ~liri.. or "tea rice," is the meisan
bentif. The Daruma bentif sold in Takasaki station is typical
of the meibutsu variety of train station lunch. Takasaki, in
Gunma Prefecture, is famous for its Daruma sculptures and
dolls so it's not surprising that the shape o f the lunc h box is
fashioned to resemble a Daruma doll. The contents of the lunch
vary considerably from one day to the next, but the container
is aJways the same.
Other kitschy and cute boxes worth co!Jecting include the
dimpled, white plastic golf ball from Karuizawa'sgorujU bentif
:f Jv 7 #~ and Fukushima's two-tiered warashiko bentif b
I? L...: #~ with a whimsically drawn child's face peeking
out from under a straw bonnet lid. Why a golf ball box from
Karuizawa? Simple. Karuizawa is a famous resort town in
Nagano Prefecture, known especially for its exclusive (i.e.
VERY expensive) golf course clubs. And why the c hild's face?
In the Tohoku (northeast) dialect, "warashi" refers to children. So Fukushima, in the northeastern part of Japan's main
island of Ho nshu, became known for its warashiko bentif. Like
Okayama Station's Kurl ("Chestnut") Bento
many meibutsu lunches, the containers are more distinctive
than the food.
Photo from Ekiben, by Kamekura, Bosker & Watanabe. r:J/989 Chronicle Books
Ofte n regional specialties are combined with local lore.
These combination meisan and meibutsu meaJs, such as Sendai
fashioned = f"F I? :11. -r II' 7.> tsukurarete-iru kitschy= *J'/{Il)~J;.I: .g.? .1: ? 1: f"F I? :11.!.; taishii no komi ni au yo ni 1sukurarera dimpled= If;:
If;: ll) bokoboko no whimsically = Jfii Dlfl: omoshiroge-ni distinctive= ~'f!!_iJf~ 7.> tokushoku ga aru
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MANGAJIN
15
Taste of C ulture
station's kuri bento ~ :fr~ ("chestnut lunch") in a chestnuthaped box and Fukui station's crab lunch arranged in a crabshaped box, are usually the most satisfying since they merge
the best tasting food with the most attractive containers.
Traveling by train in Japan can be challenging (reading
the time schedules, buying the right tickets) and tiresome (all
those staircase s), but it can a lso be fun (remember the yummy
ekiben). In addition, it can provide an excellent lesson in reg ional cuisines. Despite, or perhaps because of, the limited
land mass that makes up the Japane e archipelago, regional
distinctions in cooking seem to take on an even g reater importance to the native population.
Most of the local products featured in the ekiben mentioned thus far a re shipped to Tokyo, Osaka and o ther major
metropo litan centers for sale throughout Japan. And although
several different regions might supply the same kind of foodMiyazaki (in Kyushu) and Hachioji (west of Tokyo) both are
known for their shiitake mushrooms, just as the northern island of Hokkaido and the Fukui coast (on the Sea of Japan)
are both famous for their crab-there are certa in foods, such
as fermented bean paste (miso "*~) and soy sauce (shoyu
7111), that are found throughout the country. With such "universal" foods as these, strong regional identities emerge.
yummy= J:; v' L.. ~,.' o ishii archipelago = 911 &'~ rello identities = f"(!) t:I1!!1Jt!!1i(!)~IH1 11. IW11 sono tochilchilrO no dokuj.isei. kosei pungent = iA
"'<'*(!)) koi {aji 110) mellow = i: :? '(>;I f.t I ll't,. ' moroyaka-11a I amai trivial = ~*IH f.t sasai-11a taste buds = P~'i(f I '*it2irf m irai I mikaku
kika11 delicate and relined = YUill<:1-.n"'. se11sai dejollirr insipid= P*;{f.tt,. ajike rrai
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MANGAJIN
T a s t e o f C u l t ure
Correspondence to:
Eli:_abeth Andoh, c/o M ANGAJIN,
PO Box 7119, Marietta, GA 30065- 1119
.-------
. invigorating= if;~(~ 1.> kakki aru russet hues= ,) 0. <7)0.&)~ 1 kaslroku11o i roai bagels and lox = "'- 7' lv( t- - t- "/ 1~(<7); ~ / ) t ~t <l).)'i; t!<l)
J:Jj' t;JJ I) beguru (dOII(I/Sllkatachi 110 pan ) to sake/slwke 110 ku11sei 110 u.w g iri ullimale = Jl:j.l\<7) k.l 'likyoku 110 disposable incomes = uf !ll!:~flfr!~}
kashobun shotoku
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It's o n 10 c ord
Meishi are commonly 5.5 em tall and 9 em wide. Printed
in this tiny space are the name of the company or organization, department, section, title, the person's full name, company address, telephone number, and fax number. A meishi
serves as a kind of "ID card," not legally but in everyday
situations.
It identifies you in two ways: first as a physical being,
and second as a social entity, or how other people should
regard you. A meishi bearing the name of a well-known company or organization garners more respect than one with
the name of an unknown company.
In Europe or the United States, the company you work
for is less important than your position or responsibilities in
that company. In Japan, it's the company name which has
the most significance. This is apparent when meishi are exchanged during an introduction. As mentioned earlier, after
saying "Hajimemashite," a person states the name of the
company before his or her personal name.
It's a passport
A company is an independent nation in the world of business, and a "passport" is often necessary to enter another
company's building. Meishi are used for this.
When visiting a company for the first time, you will find
yourself in an awkward position if you arrive without meishi.
It's a memorandum
On the meishi you receive from someone, you can write
the date, impressions you have of the person, or notes about
the discussion you had. This information will stimulate your
memory in case you meet that person again. These notes
should be written afterwards, when you are alone. Otherwise, the other person will feel uncomfortable being "analyzed" on the spot.
It can be an IOU
Entertaining a client, a man goes to pay the bill and discovers
he is short of cash and has also left his other wallet full of credit
cards in another suit. He writes the amount outstanding on his meishi
as an IOU for the restaurant manager. This doesn't always work,
of course. It helps if the man is well- dressed and his meishi is from
a prestigious company.
Since meishi printed with the name of a major company are
more likely to be accepted as an emergency IOU, they are at times
forged and used to trick restaurant proprietors. So, before giving
out their meishi, persons with major social responsibilities, such as
high government officials and well-known lawyers, write on the back
the name of the person they are about to give it to and the date.
This is to prevent the abuse of their meishi as described above.
There are some public officials who take extreme precaution by
never giving out their own meishi, even when they have received
one from another person. Not all public officials observe this practice. A notable exception is politicians- they pass out their meishi
like feeding bread crumbs to pigeons.
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~~iN'ntES JAPAN
~un-
by Sowone Fumitoshi
JA
**D-'f{~IB~~~~::anda surugadai
Ful<.ai Building 4F. -01
Chyoda-\<.U, To\<.yo
PMne: (03)3295-5
.. "
...,...
JACK SEWARD'S
OUTRAGEOUS
JAPANESE ........
It is often taken
as an article of faith
that the amiable, soft-spoken
Japanese seldom resort to verbal
abuse or defamation in. their dealings with others. All the same, while I was atTending Japanese language
school. our top-priority mission was acquiring the vocabulary
needed to (a) roundly malign others, and (b) become cozy with
Oriental maidens when we at last reached the distant, misty
shores of Japan. The harvest of the second task was indeed
much m.o re bountiful than the first.
But I persevered and at length came to understand that
~-
Mii,
Suwiido-san
(excl.)
(name-hon.)
as-for
truly
fat
arc
(emph.)
time indeed.
Other words which can be used to describe excessive weight
include 't' h: 't' h: debu-debu and h: J: h: J: buyo-buyo, as in these
examples:
fat/plump
yobandoko.
1/tfr<l)
her
hips
to
fit
~\,\
iJ'~ o
nai
kara.
that
flabby
>&.-
'?"'(It\ . 0
futte-int.
The material in this column is excerpted from the book Outrageous Japanese, by Jack Seward, Charles E. Tuttle . Inc .. Tokyo, Japan.
MANGAJtN has added Japanese kanji and kana, as well as grammar and vocabulary notes.
26
MANGAJtN
OutrageousJapanese
<
emaciated
man
as-for
sick
without doubt
Hisashiburi ni Yasube-san
after a long time
ni
atta
ga
meet
but
Ji. 7.>
miru kage
see
shadow
'b tj:
<
~-tt-c v'
mo naku
i L. f.:.o
yasete-imashita.
was skinny
bones
and
skin/hide
Men who are not necessarily fat but whose bone structure (honegumi it *H.) is huge can be disparaged with words like these:
-? c.' udo -
*:95
':
~:~
somi
o-otoko
~~
chie
ni
ga
mawari-kane
can't go around
A David next to such a Goliath could be cut down with the following:
Ore wa
What?
issun-boshi da
tte?
"ftf,f{
I
wa
Kisama
;J,A
ltlt.PI?Iv
keshikaran
l:~lj:lt'
tJ'o
ja nai ka.
kobito
aren't
(?)
only (emph.)
Honekawa Sujio
(Mr.) Sujio Honekawa (The final o indicates it is a male
name, whereas a final ko signals a feminine name.)
There is a class of Buddhist ascetics who fast for religious purposes. Like Mahatma Gandhi, these holy men usually do not
have enough excess fat on them to feed a gnat for a day. They are
called if~ rakan - skin-and-bones Buddhist fanatics (the
word was once applied to Buddha's five hundred disciples who
had entered into the state of Nirvana.)
In the last extreme, those fleshless ones become mere ~ ~ t J.>
~ ikeru shikabane- living corpses.
Mv'
's
!R~i.Jf}E
mita doke de
ugly
only
IJ i i' o
mushizu ga hashirimasu.
be disgusted
Tarehoho
IT)
!1})-'flfl'j:
no sukebege-na
Ifiif,l/d.
f!.? f.: o
tsuragamae datta.
was
27
Ou t r a g eo u s Japane se
and hoho ("cheek").
tsura is a slang word
1?-"fB
li
Sanae wa
awful face
is
The following three words are all used to mean a stupid looking face:
.~ B:00
~ 'i
baka-zura
? 00 ahO-zura
r.!lt~Jt oo
manuke-zura
.@.
(/)
lki
no kusaki
breath ('s)
stench
l;i
:m ~ -r
wa
nushi
shirazu.
as-for owne r
Eyes
of a woman
ee
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MANG A JI N
As used In these
and other corporations:
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So11y Subum Toshiba Toyota Unisys Verbatim
-IT7
Knowing how it could change the lives of canines everywhere, the dog
scientists struggled diligently to understand the Doorknob Principle.
Dore dake
sekai)ii
no
~ .Z J.> :0' t
/O)JJii:JitNPY'J L J:.-) t,
inu-rui
no seikatsu o
how much all over the world ("s) dog (genus) ("s)
:;kQ)~$;ft.:t:>
li
inu no kagakuslzatachi wa
dog scientists
~7 / /Q)
doa nobu 110
(as-for) doorknob
:0
t'?..t?
life
(obj)
Jjj(Jll!
a-
genri
!went
ka
change
nenti5 ni oite
M~ l.J:.-J
~fit;Q)~:tJ
kaimei slziyi5 to ke11mei 110 doryoku
diligent effons
a-
~Ht.: o
o tsuzuketa.
(obj.) continued
30
MAN GAJIN
,/~
~
-
. -;-
GJ
""<....~~-=:.
-c
O-kane
moue-ru?
(bon.-) money
have
Hobbes: "NQQe."
-If- lv -If lv 0
Ze-n zen
none at all
;0"\'h~ ~ O.&~lfA.
Do
hmm
how
yauara
okane
te ni irerareru
kana?
I wonder
~ ~*'J
A,
hito, dare ka
coun
al
can sue
JJ4.
~ ,,.
mar
iJ' ;>j:?
ka na?
Saiban de uuaerarent
Jj
t..-1.:.:'1::
~PI! A.
.:.
''? 1/A,.'{ ~
.-<\ l.:,(
~ Pi/A
sue ... for - c 1.: tJl~l!fjfj\Q) )!l1F .:t >a:~:: T o fiiJ$ ~ Ri.!I'IJl.:f; i? :it:, tt Q) -!Jf- All:it-1 t:t 00 -r: li, m:t=IJ >a:
'lt tJ~ 1
\l.f.!A.
OA.~(
It,,..:.
''~"'
tl'~"(
J9ifut'ltQ) - p3U: 1..- "'(~ .:t J.>n!rPJ-IJ~- ~~.:~ IJ, :::: -r: ri-t-tL>a:- &:~!-? "'(v' J.:, 'b Q) o
Calvin & Hobbes, copyright
1987 Universal Press Syndicate. All rights reserved. Reprinted/translated by permission of Editors Press Service,
M ANGAJIN
.Y.
31
(0\'liN ~ HobbeS
~RlSI\
minna
do
-:><o
yatte
akachan
tsukuru
no?
do
baby
(obj.)
make
(ex plan.)
everyone how
(J)?
Father : "Most geogle just go to Sears, buY, the kit, and follow the assembly instructions."
-::> -r ~ --c ,
-+ t.:. ", -r ", (J) A I t.:. t.:. ':/ 7 - .:t "" fT -::> -r , -t "J 1- ~
Taitei no hito
wa
most people
tada
Shiiizu
iue,
setto
Sears
to
go
sellkit
as-for just
~IY'liD
setsumeisho
(/)
mjf-
110
shiji
ni slritagaue kumitateru
put together
follow
dake
nkaue kite,
~0
sa.
only/just (emph.)
shiiizu
Vme as-for
Sears
"'
mrr~ ~ fflv'
.o o
(J)??
iu -) no??
(ex plan.)
Father : "IN.__y_ou were a blue light sgecial at K Mart. Almost as aood and a lot cheaoer."
~ "'~, .t:>M I K7 - !-- (J)
ilf!~fillio"b
t..: -::> t.:. lv t.!.o ':/ 7 - ;/:. (J) t
lya,
no
omae wa,
you as-for
I
~Pi
lri11shitsu wa
quality
n da.
Kei miito 110
clro-toldcahi"
daua
KMart 's super-special price item were (explan.) is
~ b t:>
k.awaranai
kedo,
isn't different
but
Shiiizu
Sears
no
/0
's with
i'-::>c
lv
t..: J:. o
zutto
yasuk.atta
II
da
yo.
-r
.o
r .o
n .o ..: n
K Mart 9: :!: tJ! 7t IJ !fm (7,) * ~ (7,) 1 A tJ ? ::.-- r A r 7 o Sears t !t""' t ~ tJ! tJr 0
blue light special ~filii, ;-{ - ?''/ .fbo K Mart "'(' li t.:
1 J: IJ <ro>7tlm ,._ 7 ::.-- 717)-? "' t.:?l: IJ :1-,g;--c"<fiil
0
-!Jfblue light special.
~W~Ufiffi:te l:lj:-?"t"i:; IJ i-to J t ", ? J: 7 lj: 7 -r ? ::.-- A -/J{ TJr ~ ~ -/J'
r r.: "'
Calvin: "AAUUGHHH"
~
??-/ !
Uwa-11!
32
MAN GAJtN
Er-::>""Co
illai
ima
Karuvi11
IIi /lOIIi
(emph.)
now
Cal vin
h.~
itte-ru
(J)?
no?
(explan.)
..: 17)
lj:
t'b
0-nt.!!lii1tMB
OL Shinkaron
fi<fj
-t
by Akizuki Risu
Jiritsu
to
Koki5
Self-Reliance or Superiority
ro is usually "and," but here it sets up a contrast, so "or" works better in English.
Sound FX: I! I!
Pi pi (sound as paper drops in paper tray)
Kochira no
kachi5-san
marne
desu ne.
he?" (PL3)
-Ji?~llv'
Po
Urayamashii
wa.
envious
(fern. colloq.)
"Hunh?" (PL2)
OL I is visiting from another section of the c;ompany, and uses koch ira (lit.
"over here/this side") as a pronoun for "this section." Kochira no = "this
section's" -+ "your."'
kachi5 combines ka ("section") with the suffix for indicating the " head/chief/
leader" of a group, -cho, to give the meaning "section chief." It is standard
for Japanese employees to refer to and address their superiors by title rather
than by name, often adding the honorific suffix -san.
OL 3:
=f-f~ v'
1 l .t. -) iJ'?
Tetsudaimashi5
ka?
'-''~,
lya,
no
'-'''-'' o
ii.
okay/fine
no
yo.
us
(obj.)
doesn't trust
only (emph. )
41
0 ~ii1ciDfn
-..
fxfJ ~ -t
by Aklzukl Rlsu
OL Shinkaron
Terebi/tii-vii wa Utau
TV
as-for sing(s)
J.l
(J) 1~'7- ~J
otoko no
/7
pawii dorinku
power drink
the verb ganbaru ("to stri ve/work hard") modifies otoko ("man").
because the illustration suggests it, we have treated pawii dorinku (re ndered
from the English) as a brand name. The ad is for a (fictitious) tonic eiyii f'nullition/nourishment") drink of the kind we featured in M ANGAJIN No. 21.
Anchorman:
!~~
Kiisei-sho
no elrosa ni yorimasu to
according to
... ni yorimasu to is the PL3 of ... ni yoru to, "according to/based on ..."
lrataraki-zakari comes from lwtaraku ("to work/labor") plus sakari ("height/
summit/peak": s changes to z for euphony) to make a noun referring to the
time when a person is "at the peak of his working years."
kono ("this/these") followed by a time period (n days/months/years) refers to
that long of a period leading up to the present.
the no where the sentence breaks off turns the preceding into a modifier for
whatever follows. The implied final meaning is essentially the same as if the
sentence ended with zoka shite-iru ("are increasing/have increased").
mt~J
t:
L
.t
~ ~
t:.
(J)
Ad:
~ ~ t::. (J) f;
Anata no ai
1: L. J: ? o
Jf~
karachi ni slriyii.
you
~7
~fill
Tomato Seimei
shiyii is the volitional ("let's/1 shall") fonn of suru ("do"). As in English, the
volitional form can be used to encourage the listener to do something: 'Let's
give shape to our love -+ "Give shape to your love."
the Japanese term for 'Life insurance" is 11:: 611~Wi seimei hoken, but most life
insurance companies are better known by their short names,-- Seimei.
Wife:
~ 1: ~ ;Z .: lv "t" .0
Nani kangaekonde-ru
(J)
no
J: ?
yo?
MAN GAJIN
0-ul.!!lil1ciDm
fj( Ji VJ
OL Shinkaron
by Akizukl Ris u
(J)
il A
Saho
no
Tatsujin
Expert on Etiquette
<a
'7
Ashita warashi no
BJI
tomorrow I/me
n~~ s
t.t 1: "
"' l:fj (J)
IJ -r ft
t.t ll
dairi
de
's representative as
1:: 1:1.1-r<hlj:v'
~j:\
-Jplj: o
ka na.
.--.~:
OLl:
1j: 1::' .: h?
Nani, kore?
what
this
OL2: i./1)
(J)
Kiyome
jj[ t:.~Jj:v'?
no shio ja nai?
is it not?
.l .
l
0-soshiki
kara
kaettara
A. .o
:t r~
-wn::
1~ -?
use
(J)
.t o
no
yo.
(explan.-is) (emph.)
"When you get home from a funeral, you use it before entering your front door." (PL2)
OLI : .b-lvo
Fun.
it is the custom to sprinkle salt on yourself before entering the house when
returning from a funeral - as a form of ritual purification.
fiin is an interjection showing interest/understanding.
Boss: -f IJ
Sorya
13l{A. IJ
dohyo-iri.
M ANGAJIN
43
~Pta
OBATARIAN
by
44
MANGAJIN
**"-C.to
time machine
5i:Jilt~-ttt.: ft
li,
ktmsei saseta hakushi wa, mtrat e
(obj.)
completed
~t!.-:Jf.:o
tabidatta.
"The professor who finally completed a time machine departed o n a journey to the future.
- Havin finall com le te d his time machine the rofessor took a tri into the future. ( PL2)
Sound FX: ~~~~~ ...
Bi bi bi bi (effect of humming/buzzing or other dull, repetitive noise made by machinery)
i- :. 1.' ~~ tJt
soko de kare ga
but/however there at
he
~ t.: {> ~ li .. .
mira mono wa .. .
kansei saseta is the causative ("make/let") form of kansei suru ("to complete/perfect"). Tsui ni taimu mashin o
kansei saseta is a complete thought/sentence ("finally made complete a time machine") modifying hakushi (or
hakase, "professor/doctor").
tabidatta is the plain/abrupt past form of tabidatsu, from rabi ("journey") and tatsu ("depart"; t changes to d for
euphony).
mila is the plain/abrupt past form of min1 ("see"), and soko de kare ga mila is a complete thought/sentence ("he
saw there") modifying mono ("thing'').
-r
:. c.
t!.'
koto da.
Kakusenso de sekai ga
hametsu shita
to
wa.
te is a colloquial equivalent of the quotative to iu, so nan re koto literally means "a thing called/described/explained as what?" Asking a question with da is very rough/forceful, so nan te koro da has the feeling of an astonished/exclamatory "What the heck/hell (is this/is going on)?!"
we have treated this as a case of inverted syntax, viewing the first line as what would normally follow the end of
the second. Another way to view it is as an exclamation of astonishment ("What in the world?!") followed by an
incomplete second sentence implying an ending something like odoroila ("am astonished/surprised") or
shinjirarenai ("can't believe"): "I'm astonished/can't believe that the world has been destroyed by nuclear war.'"
Professor:
J\ ':J
i- -) 1l'o
Professor: :1 :!f 7 1) !!
Gokiburi!
cockroach
So ka.
(interj. of recognition/understanding)
~:tt
Chilcyii-jo no seibursu
on earth
's
"('
-:fi
de
ichiban seimei-ryoku no
:. -) L -r
gokiburi dake ga
ko shire
~tfr;'j]
life force
~~
J:l h -r
tsuyoi
(subj.) is strong
.. .
ikinokotte .. .
has survived
ff"T :f"t
Gasa gosa (rustling sound)
chikyii no seibursu de ichiban seimei-ryoku no rsuyoi is a complete thought/sentence ("has the strongest life
force/resilience among life forms on earth") modifying gokiburi ("cockroach").
ikinokotte is the-re form of ikinokoru, from ikiru ("to live/be alive") and nokoru ("remain") - "has remained
living" - "has survived.''
e Hona Katsuhiko. All rights reserved. First published in Japan in 1990 by Take Shotxl, TOkyO. English translation rights arranged through Take Shotxl.
MA NG A JI N
45
f;tlflll
OBA TARIAN
by
[!]
mffi!>.
(J)
no Ryiiko-shoku
aulUmn 's
0)
_;~
.. ..
t:::;
popular colors
3f-K
ii'1 .: ~ T
kikonasu
Men:s ~
kikonasu is from kiru (''wear") and -konasu, which is added to other verbs to
imply that the action is done "well/skillfully/thoroughly" -. (when speaking
of wearing clothes) "sty lishly."
Cover Stor
,cf> .
iitt fT
RyiikO
ga
doslzita!
Semaku ga
raku.
Oba:smwn
Slziwa
ni
naranai.
wa
obatarians
as-for
(/) 7/l:::"-:J...
no wan piisu
poriesuteru
polyester
~
,{(J.> o
kiru.
(PL2)
C Houa Katsuhiko. All rights reserved. First published in J apan in 1990 by Take ShobO. Tllkyll. English translation rights arranged through Take Shobll.
4 6
M A N GAJtN
tllflMI
by
7 / ti 1J- V ~
1
)
Obatarian
OBATARIAN
wa
obatarian
klido
;t v :.-Orenji
riyiJ shinai.
:; 1J -
orange
I' "' fp nt
-r- T n'?
kiido
ikaga
desu ka?
card
how
is it?
(2]
Jl: ~
when
use
j3 ~
tj'~
nt
kozeni
ga
Obatarian: "&; t? 0 ,
Ara!
(interj.)
t;;. \t'
nai
bo
wa.
t ...
Chotto .. .
can't be helped
a little/hey
sho ga nai is a variation of shikata ga nai, "there's nothing one can do" -+ 'it
can't be helped."
chotto is literally "a little," but it's also used as an interjection for getting
someone's attention, like "say/hey/look here."
Obatarian: ::.. h
Kore
this
<1' l
"( o ~
kuzushite.
demolish/break down
47
1""'""
:sL1E ~ ~::taB
Y Tachibanaya Kikutaro
Sound FX: ;{ .:f- :;
C rack! (effect of golf club hitting ball)
Bakii!
[3]
Sound FX: ;{ ~-
'l
Bashii!
Tochl!!!;. .:. lv f?
<L.. J: -
KonchikushO-mei!
"S.O.B.!" (PLl)
chikusi!O literally means "beast/dumb animal," but it's also probably themOSt
commonly used curse of chagrin/aggravation/disgust. Kon- serves as an em
phatic prefix but is actually a contraction of kono (''this").
~ 1v, =t Jv 7 li
Tame-san. gorufu wa
*'~
Friend: -7 7-
(name)-(hon.)
'b -:> c
J: 1.:
johin-ni
mouo
more
golr
Q) :7..
shinshi no supotsu
~ t)
da
sport
fJ' L?
kara
is because/so
f.t .t 0
yari-na yo.
so
ohloops
that way
desu kai.
is
is it?
Wakariyashita.
understood
Bakii!
tsukerya
ii
mon
ja 11ai
IS not
yo
(em ph.)
e Tachibanaya Kikutaro. All rights reserved. First published in Japan in 1991 b) Take: ShobO. Tokyo. English translation rights arranged through Take ShobO.
48
M ANGAJI N
Tochan:
flii
~'-'S"(>/v,
Kiichan,
Beranmei Tochan
ii
Oya mii,
da
11101
nei.
"M
oya mii is an exclamation of mild surprise, "well well/my, my." Oya and mli
can also be used separately for the same effect.
neat the end of a sentence expects or assumes the listener agrees. Nei is a
dialect version of ne.
[2]
Tochan: L ~' L,
Shikashi,
7 ,
nli,
"But
ou know . .."
1t
Hana
wa
v't.: tH:' . . .
saita
kedo . . .
Tochan:
~ #:,
~t
Umeboshi
ga
t:t. o
na.
nei.
Sorya
hana
ga
(emph)
Chiuaue
umeboshi
nanka
nanne
yo.
even after scatter pickled plums thing like won't grow on it (emph.)
MANGA J IN
49
,u,-:~~
Ueda Masashi's
Furiten-kun
'*
Title: ~ .:t
Teislru-:.oku
husband tribe
T he Hus bands
reis/111 is an infonnal word for "husband."
zoku, literally tribe," is used for referring to various groups that are seen as
having a "culture" of their own. It could be translated "subculture" in some
cases. but that seems a bit excessive here.
Ma n: J.J.-?
c b ~ ~_,,
Miuomonai
-?-:>
t.!o
yarsu
da.
unbecoming/disgraceful guy/fellow is
Man: -t(fiJ. 1:
v'li'"?ttC,tL"'C' ...
miuomonai essentially means " looks bad," both in the sense of "unbecoming/shabby/unsightly'' and in the sense of " losing face/being disgraced."
ya/Sit is an infonnallrough word for fellow/guy." here serving to emphasize a feeling of derision.
nyobo is an infonnal word for "wife."
kaimono is a noun deri ved from kau ("buy") and mono ("thing"). It can refer to any shopping. but it typically means "grocery shopping/marketing."
The panicle o. to mark the direct object. has been omitted after kaimono.
iirsukerarete is the passive-reform of iirsukeru ("tell/order/instruct [to]").
The -re form acts like English "and" to connect this clause with the c lause in
the next frame.
Ma n:
.:L
L.. "'(
7 o /
epuron
shire
apron
kiiro
nanka
hippatte.
pulling
Man: j, L..
li
Sukoshi wa
a linle
a1
leas! camouflage/disguise
slriroi.
do
50
M ANGAJIN
Ueda Masashi's
,!1,':1<
Furiten-ku~
Title: 7J
"* gt
Manpokei
ten thousand steps meter
Pedometer
Man:
~B
!i
Kyo wa
ichimanpo
aruita.
Centi ede:
~B
l;t
- 75 ichiman
+75 jiiman
875 hyakuman
f-75 senman
- ro; ichioku
+ ro: jiioku
8 {!( hyakuoku
f-{t( sen'oku
- ~~
-e~
/J
ry
~~
.:l~
10,000
=
=
100,000
1,000,000
10,000,000
I00,000,000
I ,000,000,000
I0,000,000,000
I 00,000,000,000
1,000,000,000,000
Since this system results in a four digit cycle instead of three digits, it can be
quite confusing to Westerners accustomed to a three-digit system. Even
people who constantly go back and forth between the two systems often find
they need to check large numbers by writing them down. To know how to
read a large number in Japanese, repunctuate it in four digit blocks:
I ,234,567,890
~
\Vl
itchii
one man
= ten man
= hundred man
thousand man
one oku
ten oku
hundred oku
= thousand oku
= one cho
= 12,3456,7890
Kyii cho hassen nanahyaku rokujiigo oku yonsen sanbyaku nijiiichi man
9 chO 8765 oku 4321 man
9,8765,4321,0000
9,876,543,210.000
Ueda Masashi, All rights reserved. First published in Japan in 1992 by Take ShobO, Tokyo. English translation rights arranged through Take ShobO.
MANGAJIN
51
WiJlt);lt,l0J
Ueda Masashi's
,~,':1~
Furiten-kun
Title:
~aJl
Shindaisha
bunk car/uain
Sleeper
Narration: l'ftHr
Aomori-yuki
~a
shindai
~~.
tokkyii
r~'t!:Q) 3~J
"Akebono Sango"
dawn
No. 3
r/
Caton
r/
':::f
gown
':!
r/
goton
':!
r/
goton
Furiten-kun:
~t
<
1. C; t.:
Kita-makura
~ t.I-1J'o
ointed north."
Ueda Masashi. All rights reserved. First published in Japan in 1992 by Take ShobO. TOkyO. English translation rights arranged through Take ShobO.
52
M ANGAJIN
'Y9':1~
Title: J'li1f
Voice Actors
Seiyii
Furiten-kun
[2]
Rarii,
Larry
Co-worker: 7
Jl
1) - ,
Furiten-kun:
Mada na n
da.
Suriibu.
Steve
Sign:
A 1
:J:t
Studio
Surajio
Cats: 7 :t -
:t -
Ao-ao-
GJ
you
recently
noisy/shut up
you
da
yo.
:t -
Ao-ao-
"Yow-w-1
Cats:
~ ~ 1:
<'-'
(thinking) Yarinikui
na.
10
Japan in 1992 by Take Shob<l, Tokyo. English translation rights arranged through Take Shob<l.
M ANG A JtN
53
~'ti 0)
itt.:
t' ~ ;f-.A
~ ~ c7;.
TITLE:
Kansei ga Towareru Midashinami
Personal Appearance, For Which Your Sensibilities will be Doubted
- Your Appearance Reflects Your Sensibilities, Part 4
Josei no Midashinami wa Sawayaka ni
Women Should Dress Simply
[Q
Sakaeami:
Kore, kare kara no purezento nan da.
''These were a present from m y boyfriend."
(PL2)
Co-worker:
Wii, suteki!
''Wow! They're really nke!" (PL2)
kare is actually a pronoun for "he/him," but it is
also used colloquially as a common noun meaning
"boyfriend."
Sakaeami:
Kore kurai daijobu desu yo.
"This much is safe/not a problem."
- " They're no bother. I'll be fine." (PL3)
jama ="hindrance/obstacle,"' andjama ni naranai
is the negative form ofjama ni nan1 = " become a
hindrance/get in the way."
kashira is a mostly feminine " I wonder if/is it perhaps?"
0
Business manners for women! In our last issue we presented a chapter
about "Socializing With Co-Workers Outside the Office," from the book
Manga Bijinesu Mana ("Manga: Business Manners"). In this issue we present
two short chapters offering advice to women readers. The first is about dress/
appearance, and represents the more traditional or conservative attitudes
that most people associate with Japanese women in business. The second,
however, encourages women to be assertive in the workplace, and reflects
some of the changes that are going on in the world of J ~panese business.
The book Manga Bijinesu Mana was compiled by Wj B ~ !1f:;~~ffi 1i
~U ("Asahi Seimei Hoken Sogo-Gaisha," a major Japanese insurance company), in the education department of their personal development center,
and the publisher, Sunmark, has a series of educational business comics.
" Business Manners" has four sections: -"" - ~ 'J 7 7 T -(Beshikku
Mana, " Basic Manne rs"), ~-~ :t-.AU~Q)j;j" Aml-f* (Bijinesu Shakai no
Taijin Kankei, " Personal Relations in the Business World"), .::. C (;! (J) 7
T -(Kotoba no Mana, "Speech Manners"), and !:::'" ~ ;t, :A 7CUtHH~
(Bijinesu Kankonsosai, " Business Ceremonial Occasions.") The les ons we
have chosen come from the " Basic Manners" section.
5 4
M ANGAJIN
SenpaiOL:
Sore nara ii kedo.
" It would be good if that's the case."
- " Well, I hope so..." (PL2)
kedo, literally ''but," is used here mainly to soften
the sentence ending, but also betrays a hint of doubt.
Sakaeami:
Fun!
" Humph." (PLI )
Sakagami:
Kureru hito ga inai mono dakara yaite-n no
yo.
"She's j ealous because she doesn't have
anyone to give her (presen ts)." (PL2)
kureru hito= "person who gives (to her)," and inai
is the negative form of im ("have/eJtist" for animate things).
yaiten is a contraction of yaiteiru, from yaku,
which literally means " burn/roast." Various references to " burning" have served as metaphors for
"? -t-
OJ SoundFX:
Ru ru ru
Ri-i-nng (sound of soft electronic telephone
ring; the FX word for an o ld-fashioned ring is
riin)
QJ
Sakagami:
Hai.
"Hello." (PL3)
hai, literally "yes," is often used as a "hello" when
answering the phone.
Sakagami: (thinking)
Yappari jama kashira.
way?" (PL2)
Sakagami: (remembering herself)
Ki o tsukereba daijobu yo.
Supervisor :
Oi, Sakagami.
M ANGAJIN
55
~:l:f-.A
""<'-}--
Business Manners
[2J Su
rvisor:
Sono mimilu:Jzari denwa no tokijama daro.
"Those earrings get in the way when
you're using the phone, don't they."
(PL2)
Doni lu:J shiro.
"Do something about them." (PL2)
mimikazari is literally "ear decoration/ornament." Jyaringu, a katakana rendering of En-
Saka ami:
Ki o tsukeru kara daijobu desu.
"I'm careful, so they' re OK." (PL3)
Saka ami: (thinking)
Yappari mazulu:Jtta kashira.
" Maybe it was a bad idea after all?"
(PL2)
mazukatta is the past form of mazui ("unsavory/
poor/awkward/inadvisable'')
idea."
-+
"was a bad
Su rvisor:
Sanna koto ni ki o tsukatte-itara shigoto ni
naranai daro.
"When you are attending to thjngs like that,
your work doesn't progress, I bet.''
- "If you spend your time worrying
Demo ...
' 'But ."
tsukatte-itara is a conditional "if/when" form
of tsukatte-im, from tsukau ("use"). Ki o tsuktw
is literally "use (one's) mind/attention" in the
sense of "worrying about/being distracted by
(something)."
shigoto ni naranai is literally "doesn't become
work,'' and it's used as an expression meaning
"work doesn' t progress/get done."
Sunervisor:
Nan-nora ore ga hazushite yaro lu:J?
'If you would like, shall I remove them for you?"
"Sound" FX:
Gaba! (effect of lunging or any sudden large movement)
56
MAN GAJIN
1:::":/::f-.A
[JJ
'7-}--
Business Manners
Sakagami:
Ha, hazushimasu!
Co-worker:
Are? lyaringu wa do shita no ?
[TI Sakagami:
Yappari shigoto no jama da kara hazushita
no.
" It turned out that they did get in the way
Wear your hair in a style that will not distract from your work. Hair that falls into
your eyes and long hair reaching down
your back should be pinned back before
work.
Kesho, manikyua nado wa hikae-me ni shite,
dogitsuku naranai yo ni chili suru.
particular, you should think ahead and remove things like large earrings and prominent necklaces, or bracelets that could get in the way or
work.
hairyo ="consideration/forethought," and hitsuyi5 (daldesu) ="is necessary: so hazusu
hairyo ga hirsuyi5 means " the forethought to remove (them) is necessary" - "'think
ahead and remove ..."
Check to make sure you don' t have dandruff or loose hairs on your shoulders and back. Also, be careful not to let your fingernails get too long.
When you notice that your makeup needs adjustment or your lipstick
has worn off, take care of it promptly.
Kosui wa kaori no yowai mono o era bu. 0 de koron ka o do toware ga bun an.
For perfume, choose something with a faint scent. Eau de cologne or eau
de toilette are safe choices.
MANGAJIN
57
~~;f-.A
?-j- -
Business Manners
TITLE:
Shitsumu no Manii Jiyii Jizai ~
Sign:
Meeting Room
Kaigi-shitsu
Speaker:
... to iu koto desu.
.::.
IJ (!)
1. W
Tf4
C. 1:
Speaker:
Nanika go-shitsumon wa.
Mimura:
Hai.
FX:
Su! (effect of a quick, smooth movement -
in
Mimura:
It is questionable how representatjve the attitudes a nd opinions presente d
in this chapter really are, but the very fact that such material has been written and p u blishe d can be taken as some kind of indication that c ha nges are
starting to take place.
[2]
Yamada:
Sugoi na.
58
M ANGAJIN
~~;f.;r.
ala man:
Kotoshi no onna no ko sugoi sekkyoku-teki
dana.
Mimura:
Hikae-me 110 ho ga ii no kana?
en ai OL:
Ki ni shinai, ki ni shinai.
0((
Sen ai OL:
Onna dakara to ka onna no kuse ni to ka iu
jidai ja nai no yo.
Yamada:
Mimura-san sugoi nli. Kanshin shichatta yo.
[I].
Shigoto ni seibetsu wa nai.
Women often tend to be shy in meetings and such, but you should go
ahead and state your views and assert yourself.
Shigoto de ganbaru to doji ni, sekkyokuteki-na insho o ataeru doryoku o
wasurenai. Sono tame ni wa, akaruku hakihaki to shita taido ga taisetsu.
59
)c ~ 3?- ~
;t< -1;.
m""<' :=.
.:1
Maekawa Tsukasa, All rights reserved. First published in Japan in 1988 by Klldansha Ltd. TOkyo. English translation rights arranged through KOdansha Ltd.
~n
M ANc:lAJIN
65
.:L
Bon 'odori
*~
Bon'odori
Taikai
great meeting/gathering
dodon
~ /
ga don
Narration:
ift-t{~
0)
~-9:
U:
Yukata-sugata
110
kanojo
wa
~M
IJ
0)
::R:t
\:'~;:,
summer kimono appearance/dress (=) she/her/girlfriend as- for bon dance of master
is
Hiroko: Jfc
Hazukashigara;;u ni
J 1::: J 1::: ~
nobinobi-to
.f. ..IE
teashi
ugokasu
0)
J: o
110 yo.
(explan.) (emph.)
" You are to move your arms and legs fully without being shy."
-+ "Now don' t be sh . Move our arms and le s without holding back." (PL2)
Signs (L toR):
t.:.:: tSf ~
bt.:. ~ ~
Takoyaki
Wata-ame
Ringo-ame
octopus fritters
cotton candy
apple candy
lv :::~~
Sound FX:
~ r / ff ~ /
Dodon ga don
~ r /
dodon
ff r /
ga don
Ba-boom-da-boom ba-boom-da-boom
(continued on following page)
MANGAJtN
61
*W:
62
M ANGAJIN
;1.
,....
*** /
~
Sound FX:
.
0
1~1~ /
Q)
I~ /
papan no pan represents a common clapping pattern, typicall y repeated twice, used to fill the pause between verses of a bon 'odori song: two quick claps, a silent beat (re presented by no), and then a third clap.
xL?<
.
.
.
.
.
Na rration :
..
.
0
Sound FX:
Man:
"'"'
??/ ? ? /
Taran ta tan
(sharp taps of drumsticks against the wooden side/edge of the drums)
oi is an abrupt "hey" or "yo!" that can actually be quite rough depending on how it's spoken, but the
double oi oi seems quite a bit softer.
niichan is a familiar form of oniisan ("older brother"), often used as a generic term of address for young
men in their upper teens and twenties (approximately).
eraku is the adverb form of the adjective erai ("eminentlimportant [person)"); it can be used colloquially
as a emphasizer like "very much/considerably/terribly."
isei ga ii, literally "power/spirits/energy is good/fine," is an expres sion used to describe people and actions
that are "vigorous/full of energy/high spirited."
periodically beating on the wooden frame of the drum is a standard part of most festival drum beats.
71/:/3 (;;t.
Q)
..1!--=>V>J.>c
l: ? c
l..lt'o
Tehon
no kanojo
wa
jitto
mitsumeru to I nabushii.
example/model (=) she/her as-for fixedly/i ntently if look/stare at bli nding/dazzling
As for she who is my model/example, if I look steadily at he r, s he is dazzling.
- M v 2irlfriend is radia n t as I watc h her closelv to follow he r moveme nts. (PL2)
no here is again like "who is": rehonno kanojo ="she who is [my] example/model."
mirsumeru means "look/stare/gaze fixedly/intently at," so jitto is essentially redundant. butjitto mirs umeru
is a common combination. To after the plain form of a verb can give a conditional " if/when'' meaning.
mabushii used to describe a woman refers to "dazzling/radiant bea uty."
r""" r"""
Doki doki
Thumo t humQ (effect of heart beating hard)
It t
iX~(j:l,.\1,.\
ttPJ
1Jf
-tfA..-tfA..
~?"'( .0
f !
lsei wa ii
kedo
ga
chigatte-ru
Juri
unzen
zo!
vigorous/energetic but dance movements (subj.) completely are differentlwrong (emph.)
" You' ve 20t lots of en er 2v. but vour mo ve m ents are aU wro ng," (PL2)
Sound FX:
I.
Q) I~/
Papan no pan
Papan no pan
(clapping with a special beat)
1;{
b'
Man: Hlt'i:> "' !:- t, ~A.,
iX~
eraku
ga
ii
Oi oi.
Niichan,
tset
ne.
hey hey
brother/young man very power/spirits (subj.) good (colloq. emph.)
" Hey there, buddy, you' ve 2ot a lot of e ne rgy, don' t you." (PL2)
Sound FX:
I'<J~ /
.
.
~~~~ /
Q)
I~/
Papan no pan
(clapping)
.
~
Kosuke: ~ 0
A.
" Oo
" (PL2)
Sound FX: t A.
Don
(effect of a dull thud/bump)
M ANGAJIN
63
k.
64
MANGAJ IN
=. .:~. 7
11-
***
-------------------------------------------Kosuke:
~~
l: i:> lr' o
Aa . . .
sekken
no
ahh/mmm
soap
of smelVfragrance
nioi.
-=. I?
Kora kora
(interj.) (interj.)
@J
Sound FX:
c:
c:
c' lv 1Jt lv
Dodon ga don
Ba-boom-da-boom
Sound Fx:
c:
c:
c:
Ba-boom-da-boom-boom ba-boom-da-boom-boom
Arrow: 1 "t"
Ude
< IJ
makuri
arm/sleeve rolling up
Sleeves rolled up
ude = "arm," so when speaking of clothing it means "sleeve," and makuri is a noun form of makuru ("roll
up/bac k"), so udemakuri is a noun referring to the act of ro lling up one's sleeves.
n'n'-:> -c
Narration: 15nil
Jiigoshii
IS laps
;tv li
kakatte
ore
wa
~ IJ
Juri
~
o
~~ ~:
kanzen-ni
')t;{.
t.:. o
oboeta.
Arrow: i".f
Suso
< IJ
makuri
Yukata tucked up
Sound FX: li' li 1v 1Jt li' 1v
Papan ga pan
(rhythmical clapping)
-shu is the counter suffix for " laps/times around."
kakatte, is the -te fo rm of kakaru ("[something) takes/requires"), here being used as an adverb modifying
oboeta (plain/abrupt past of oboeru. "learn/memorize"). Kanzen-ni is also an adverb modifying oboeta.
suso refers not j ust to the bottom he m but to the e ntire lower pan of a skirt/dress/robe. Since the "skirt" of
a yukata or kimono can be constraining to movement. men have trad itionally tucked it up wben e ngaging
in vigorous activity.
ta tan
tan
Yakisoba
M ANGAJtN
65
*. 1U Jj( 1::
l1:.
i?
fi 1!: 15
fJ' ;t J!l
t t: t
f)
tt
(i "'(
66
MANGAJIN
;;.t
rr
.kJ.lU}t 1:::' /
;t;- tf:.i'i5"<'
=- .:z. 7 Jt.-
____
Takoyaki
Vendor: ~ rJ 1Jt t. b.
Arigato
ne.
"Thanks." (PL2)
both shonening arigato to arigato and adding ne give the word an informal feeling.
Sign:
bt.:.~~
Wata-ame
Cotton Candy
Sound FX: tJ 7 tJ 7
Kara kara
Hiroko: !i "' !!
Hoi!
@J
Ba-boom-da-boom Ba-boom-da-boom
Man: ,:Q) 1.: - t:J~/v
-/)t
iftit)-t>~J., i't:' :tv{>
Kono
niichan
ga
t[ltJ.,
odori-yameru made ore mo tsu:ukeru
i'o
zo.
this br01her/young man (subj.) stops dancing until lime also will continue (cmph.)
"Unt~ quits, I ' ~ to kee~ dancing, too." (PL2)
yameru means "stop/quit.'' and it is suffixed directly to verb stems for the meaning "stop/quit (doing the
action)."
ikko
de nishii wa
motsu
b. o
wa
ne.
octopus fritter I piece with 2 laps (emph.) will hold/last (fern.) (colloq.)
"One takoyaki will hold you at least 2 times around, won' t it?" (PL2)
the panicle de here essentially indicates "means": ikko de (nislrii wamotsu) ="with/using one piece (you
wil l last/hold out through at least 2 laps)."
the particle wa after a number/qu antity often has the emphatic meaning of "at least."
motsu means " hold/carry"; when speaking of a span of time/space. it means ''last (for/through) " - not unlike the idiomatic use of "hold out (for/through)'' in English.
Narration: lSJilil
Jilgoslul
151ap;
{>
iJ'It-r
mo
kakete
t:tfJ't:tfJ'
J.l:i t?t;tlt' 0
nakanaka
tomaranai.
as much a.\ taking/using learned dance as-for [not] easily/readily doesn't stop
M A NGA JIN
6 7
The other important character appearing in this story is Hanazonokun. Big, lovable oaf Hanazono was head of the rather pathetic judo club at
Yawara's high school. He goes on to become a major judo contender,
hoping to make it to the 1992 Barcelona Olympics. He meets Fuj iko for the
first time while they are both at the airpon to welcome Yawara back from
Seoul, and their mutual concern for Yawara brings Fujiko and Hanazono
together - in this story we see exactly how clo ely.
MANGAJ tN
69
Ya waral
70
MAN G AJIN
Yawara !
QJ
Maeazine:
~ 9C.
lkuji
(!)
no
IX.
Tomo
_C_hild-Rearer's Comoanion
ikuji combines kanji for "raise/nurture" and "child" to make a noun meaning "child rearing."
magazines targeted at specific audiences often have titles in the form - no Torno, literally "- 's Friend/Companion.'' One of the biggest is Shufu no Tomo. " Housewife's Companion."
Yawara:
:f* / .. .
F eatureStory
(continued from page 13)
monolithic = 7i::@: ~: f,t- ~ :Itt:. kanzen-ni toitsu sareta conspiracy = ~ ~ inblJ ineffective= 1W; 1J I P,~ n~ mu~oku 1 muno fundamental definition
= fl;!.:<f>:~ft konpon teigi passive= ffl~B'-]1:5;17 A IJ l,.. IJ: v' sekkyokuteki-ni wakeiri shinai frustrations = lflili fuman proverbial= .:. c b eQ)
MA NGAJtN
7 1
Yawara/
7 2
M ANG A JI N
Yawara/
Yawara:
w t T- ~ lv!
Fujiko-san!
(namc)-(hon.)
"FujikQl"
Fujiko is a given name: the receptionist calls her by surname in the next frame. The honorific suffix -san,
which is added to people's surnames for politeness like " Ms./Mr." in English. is commonly used with given/
"first" names as well - much more than "Ms./Mr." are used with first names in English and wilhout any
feeling of humor/incongruity/affectedness.
Re~tionist: W~r ~ lv o
Ito-san.
(namc)-(hon.)
[I)
Receptionist:
.If f I li
Kyo wa
1JJ ,;' t f4
shoshin-ryo
$; C:
4500fiJ
1: '.1: I) ' t' o
fukumete yonsen gohyaku-en m narimasu.
4500 yen
(obj.)
becomes
"{You r:__bill) today, including the first-visit charge, comes to 45_(!0_." (PL3)
Mslto (often read ltatm in other combinations) means "first'' and~ shin is an abbreviation of ~flf shinsatsu,
referring to a doctor's examination of a patient. Ryo is a suffix meaning ''fee/charge for-."
ful..umete is the -te fo rm offukumeru ("include/contain").
narimasu is lhe PL3 form of naru ("become"): the preceding ni marks lhe result of lhe " becoming."
I2J
Yawara:
~ .Z , 'M-1- ~ lv,
t -J .. .
Fujiko-san,
do . . .
(inlcrj.) (name)-(hon.)
howlwhal
Ne.
(hon.)-preciously/carefully
plea<;e do
Yawara:
(narnc)-(hon.)
do
(J)?
datta
no?
was
(explan-?)
how/whal
" Fujiko, how was it?'' -+ "Fujiko what did the doctor say?" (PL2)
dtuta is the past form o f da. the PL2 equivalent of desu ("is/are"). No shows she is asking for an explanation.
Asking a question with 110 is very common in informal speech, especially among female speakers and children.
Sign:
Ueda Sanfujin-ka
Ucda Ob-Gyn Clinic
Yawara: 1;1' I: f ~ lv C:
Fujiko-san
te
(name)-(hon.)
(i!!
ba!
(quote) (cmph.)
M A NGA JIN
73
Yawaral
74
MAN GAJ IN
Yawara/
Yawara: .t:>~tT~Iv .
Oisha-san
f.t.l-v "l
nan
te
~-?-rt:.
itte-ta
said
{/),
hl"-T~Iv?
110,
Fujiko-san ?
{explan.-?) (name)-(hon.)
female speakers typically refer to doctors with both the honorific prefix o- and the honorific suffi x -san. M ale
speakers are more likely to dispense with the honorifics- though they can use honorifics, too. without
sounding especially feminine. I f honorifics are used. both the prefix and su ffix must be used together.
wa, for marking the topic of the sentence. has been omitted after oisha-san.
nan is a contraction o f ncmi ("what").
re is a colloquial equivalent o f quotati ve ro.
ille-ra is a contraction of ille-ira ("was saying/said"), the plai n/abrupt past form of ille-im (''is saying"), from
iu ("say").
as i n English, the name of the person being addressed in a question can come either at the beginning or at the
end of the sentence.
F e a t u r e S t o r y
-n -r /
M ANGAJ I N
75
Yawara l
t.= 10
~F.J
L' 10
OB
76
MANGAJ I N
Yawara!
f!_
-? ""( 0
Fujiko: IOfl
10 8
Jiigatsu taka
da
tte.
October tenth day is/will be (quote)
" He said it'll be October lOth." (PL2)
Yawara: X. ...
E ...
huh?/what?
" Huh?" (PL2)
Fuiiko:
a'l:lii:
7 5 B o
Shussan yotei-bi.
childbirth schedule/plan -day
"My due date." (PL2)
. W.
.
san (often o-san, with the honorific o-) by itself also refers to "childbirth/delivery," but slmssan is the preferred form in certain related terms. A more technical term for referring to labor and delivery is )tlzjt bunben.
yotei ="schedule/plan/expectation" and yoteibi ="scheduled/expected/due date."
F e a t u r e S t o r y
he was not. He was not proud or supponive of militaristic or authoritarian traditions, but took pride in being Japanese.
It's very difficult to have any kind of a
relationship with a person who does not
have personal pride.
What are the most significan t changes
yo u 've seen in Japan in your years
there?
Well, the biggest single change that
I've seen would be going from what I just
described, the gloom, defeat and shame
that overshadowed all of Japan when I
arrived in 1960, to an appropriate level
of pride. Some might call it inappropriate. It's certainly a very different country than it was when I first arrived. And
in spite of all the graft and corruption
that's been revealed in the last few years,
I like the current Japan much more than
the former Japan.
perspective= JUt!!. kenchi tidal wave= i,:!l"i!l{ wmami doom and disaster predictions = M(l~ t ~.!Jj:ll)"'f:t!;\ hametsu to sanji no yoso obvious= 1J11 B
meihaku gloom of defeat = !I!Oii\(O)~]ifi ilaise1lnO in'utsu overshadow= ~~~flt~f7J'lt J., kage o nagekakeru
MANGAJIN
77
Yawsra/
78
MANGA JI N
Yawara!
Fujiko: J:- L- ,
iJ< !v li 7.>
-f'- !!
Yo-shi,
ganbam
zo-!
okay/all right will work hard (emph.)
.
.
. zo
yoshi, often elongated, is an exclamatory/interjectory form of the adjective iilyoi ("good/fine"). It's used to
show that one is ready to begin an action ("okay/all right, I' m gonna do it/let's do it").
ganbaru means to be "dogged/persistent/unflagging" in working toward some goal or facing some challenge.
The word is used a great deal, but especially among athletes, and the command form, ganbare, is the most
commonly heard cheer at sporting events.
is a somewhat rough-sounding emphatic particle used mostly by males, but female speakers can use it. too .
in very informal situations, or to express particularly strong determination.
t:t. 5t*t:t.
"(
~n~ ~ ~v }}. t.:. "\
b J:- !!
7- t
~tInokuma-san mitai-na genki-na
ko
Ganbarte
0
umu
wa
yo!
will work hard-and (nume)-(hon.)
like
energetic/strong child (obj.) will bear/give birth to (fern.) (cmph.)
.
.
.
.
.
YJl_wara :
" I'm e:oinl!: to hanl!: in there a nd bear a strone:. healthv child like vou." (PL2)
ganbarre is the -te form of ganbam (see note above). Here the -te form functions like "and'': ''will work hard/
hang tough and ... bear/give birth to"
mitai after a noun means ''is like," and mitai-na is its adjective form. so lnokuma-san mitai-na ="like
l nokuma-san," and Jnokwna-san mitai-na genki-na ko ="a child who is strong/healthy like lnokuma-san."
genki is a noun referring to a vigorous state of health/energy, and genki-na is its adjective form, "healthy/energetic/strong."
the informal particle for emphasis, yo. sounds very masculine after the plain form of a verb (here, umu, "bear/
give birth"), so female speakers typically add the mostly feminine particle t') wa and say ... wa yo.
lnokuma isYawara's surname. In Japanese, it's quite common to refer to one's listener by name in situations
where an English speaker would use "you."
-.i7- ~ !v .. .
Fujiko-san ...
li
~m L-!! ...
"(
b!
Haha wa tsuyoshi!! . . . te
ne!
mother as-for strong
(quote) (colloq.)
..
so?"
Yawara: m7-~lv
.. .
Fujiko-san ...
PollticaiCartoon
(colllinuedfrom page 7)
is not very clear to the average Japanese citizen. (Our "translations" of the cartoon reflect this indistinct distinction.) This is
one reason why the "citizens" in the cartoon are not quite sure
what to think.
MAN G AJtN
7 9
Yawara l
n
7 v "" e
A. Jv It Jv ?t
If
:1.
';I
"? D
I) ~
1i 0)
!!
M A N G A JI N
..,.~
;! Jv
-t -r
8 0
'l -t: {,
1:
Yawara!
FX: ff :;
Cal (effec t of grasping ha nds tightly)
Yawara: i.H6 "'(:' t -? , @-=f ~ lv !!
Omedeto,
Fujiko-san!
omedeto (go:aimasu) is a congratulatory phrase used for a variety of joyful occasions like birthdays. New Year's.
times of personal achievements or good fortune. and times of joy such as when a woman becomes pregnant.
@J
Hanazono:
"'f:'TQ, @-T~Iv,
desu ne, Fujiko-san,
lt>J:It>J:
lyo-iyo
~8:;$: ~f-fl!!
~en -Nihon
senshuken
all Japan
championship
' 'It's finally here isn' t it Fuiiko. The national championship (meet)!" (PL3)
iyo-iyo is used when speaking of an event that is finally/at long last about to occur.
either ~ 8 4.: :en-Nihon (lit.. "all Japan") or~~ :.enkoku (lit.. "alVentire country") can be used to refer to nationwide events - though the two words are not interchangeable in any given case.
like
~M]~
1: Jj: J.>
ni naru
mei-shobu
b!!
ne!
"'f:'L.t-?
desha
" Like last vear the title bout willJ!r_obabh' be a reat match between you and
it?" (PL3)
4'1f.
Kotoshi wa
this year
F17t
jibun
~);J'I:
mo
zellai-ni
r.l:.ti
(:
oen
nt
"'<
lnokuma~
won' t
"'f:';h t) iT!!
de arimasu!
iku
is
- "This_year you can be sure I wiJJ be there to cheer you on, too!" (PL2-3)
Sound FX: 'fi 'J 'fi :; 'fl :; tl 'J
Catsu gatsu gatsu gatsu (effect of eating vorac iously)
mitai-ni is the adverb form of mitai ("is like").
mei is added as a pre fix to a wide variety of words to imply' , reatfexcellent/notedfcelebratedldistinguishedfetc."
Shobu is written with kanji meaning "victory" and "defeat," and can refer either to the "contest/match'' it elf or 10
the decisive moment/act that determines the winner and loser. KesshiJ written with kar for "decide" and "victory," refers to the decisive game/match in a tournament-+ " title bout/match/game."
n is from explanatory no. and desho makes a conjectural statement. son desho is "it probably is the case that .. :
jibrm ="oneself," or '' me/myself," "he/himself,.. 'you/yourself," etc .. depending on the context. Male athletes and
military personnel commonly usejibun rather than warashi.
oen is a noun referring to the act of "cheering/rooting ... Ni iku after an action noun means "go to (do the action) ...
some speakers add desu or de arimasu to the plain/abrupt (PL2) form of a verb as an informaVcolloquial alternate
for the PL3 form (in this case ikimasrr. from iku ["go")). creating a form that stands somewhere between PL2 and
PL3 in our scheme of politeness levels. It has an emphatic effect here, emphasizing his determination.
@J
Hanazono:
It>~,
/ya,
nolinterj.
L1.PL
shikashi
but
J.tt&
oen
1!1.1'1)
bakari
rooting/cheering only/exclusively
L'CJ.>
shiteru
doing
btt
wake
situation/explanation
t.:.~;hl)i-tt'lv! !
)a arimasen!
is not
"(No) but the situation is not that I' m only cheering (now)."
- "Not that all I' m doing these days is cheeri.ngl" (PL3)
JjJibun
Barcelona
Olympics 10
facing
fullthronlc
at
am working hard
"I'm trainin at full throttle, too, with..m~igbts set on next ear's Barcelona Oiym~!" (PL3)
iya literally means "no." but in this case can be viewed mainly as a verbal "warm-up" for his sentence.
shiteru is a contraction of shite-iru. from suru (''do''). Oen sum is the verb form of oen ("rooting/cheering"). and
inserting bakari makes it "only cheer/do nothi ng but cheer."
gorin is "five rings." the Olympic symbol. More commonly used is :t '} / ~ :~ 7 o rinpikku, from the English.
... ni mukete is an expression meaning "facing/aiming/heading toward."
f um surottoru is a katakana rendering of "full throttle"; furu surolloru de= ''at full throttle."
ganbattorimasu is a contraction of ganba11e-orimasu. the -te form of ganbam plus the PL3 form of onr, a humble
equivalent of iru ("be/exist" for animate things). The -te ont form. like the -te iru fom1. can mean either "am/is/are
doing'' or " have/has done" depending on context.
MA NGAJIN
81
Ya wara l
}d - 1il3
tt A. -c =J=.
i l: tt:t
-t/JI.~'7
J:8 "'?
!! 1:7-
-c
t
82
M ANGAJI N
Yawara!
:fi
ni
is hi
kajiritsuite mo,
<
--c-<h~ii"!!
~= ~-r
-~~= 1 \ Jl-- -t o -T li ~
ffi -T ~fv t
to issho ni Baruserona gorin Ill iku de arimasu!
Fujiko-san
(namc)-(hon.) with together
Barcelona
Olympics to will go
is
" Whatever it takes even if I have to dim! to a rock (even if it kills me). I willtw with you to the
Barcelona Olvmoics." (PL2-3)
:{~
~iko:
<fv ...
H~?
Kodomo ... suki?
like
child/children
?
- .
Hanazono: .s., '~-
Fugo? (inte rjection of surprise/uncertainty at her question, muffled by a mouth full of food)
-? !!
mol
yes
4-
{>
{>
*ill$
lma mo jiidobu-
i!i: fiJT
0)
kinjo
no gakidomo ni
t;tff t t!'i" :b
mainichi nagetobasu wa
every day
fling/hurl
1: t:t-:::>1J'h1?i ? l
(/)
no
fff:B
:tl q:. 3t
j!
ryo
(j: ?
t.: .:13-t
hatlaosu
natsukarechimatte
:b
0)
wa
no
*!I~
osawagi
-r:-t
:b !!
is
(cmph.)
desu wa!
" Even now the little rascals in the nei!!hborhood of the .Judo Club dorm have really taken to me,
and I horse around with them evervdav. throwim! them around and knockin!! them down." (PL3informal)
is a slang word for " kid(s)lbrat(s)" and can be either singular or plural. Adding -domo makes it plural.
is a contraction of natsukarete shimatte. the passive form of natsuku ("take to/become attached
to/become tamed,'' usually said of animals and children only) plus the-re fonn of shimau ("end/finish/complete."
here indicating the action has taken place ,;completely/thoroughly'').
nagerobasu and hattaosu (contraction of haritaosu) are both complete sentences ("[I] fling [them] away/down" and
"[l] knock/swat [them] down"), and the usually feminine particle wa is added for emphasis. The use of wa like this
at the end of parallel embedded sentences describing details of the main action is heard among both men and
women. Women's use of wa at the e nd of a regular sentences lends their speech a feeling of femininity, but men's
use of the same wa in informal speech is primarily emphatic and does not necessarily sound feminine .
.. gaki
natsukarechimaue
.
~iko:
*~t:t
Oki-na
.f. ...
te .. .
big/large hand(s)
Fujiko:
iffi f:, ~ fv
Akachan
baby
.:I?Ji\15 1:
o-furo
.An~ 0)
ni ireru
no
(j:
wa
.f.
te
(/)
110
*~t:t
oki-na
big
"/;tO)
;'\;'\ (/) tt:
papa no shigoto na no
papa
's
job
J:. o
yo.
(explan.) (cmph.)
"Puttin!! a babv in the bath is a iob for the daddv with his bilf hands . vou know." (PL2)
Hanazono: . . . . . ?
.
.
.
M A N GAJIN
8 3
Yawaral
t:: 'tlt ~ tM ~ ~ t
! ! }?. il L' fl~ #1: L
7- t:. ""? ~ IJ>
"\" t:. < J: -r:
~~;W?~
36
84
M ANGAJIN
t .: IJ I:
t:.
*AI?
I?
-r:
ll - - - - -
Yawara!
H anazono:
1371-
li ? li ? li ? !!
Hahhahha!
(J)
]i"'?=f -c.'b
~;
no te
Jibun
nara
Oaugh)
~"'?=f
-e b
Fu'iko:
.
.
~
1Jf lv If.?
-c b.,
/~/~ 0
Ganbatte
ne,
papa.
work hard
okay? Papa
ganbatte is the -re form of ganbaru ("be dogged/persistent/unflagging" in the face of a challenge). The -re form
here is being used as a suggestion/urging/gentle command.
neat the end of a request or command urges compliance/obedience, like "[do it]. okay?"
-e ~ t:.;
{>(_, =f~
1Jf
Papa ka! Moshi kodomo ga
is it?
if
(J)
-t!tW. 71'/l::":t/
chanpion
sekai
J: -? 1:
~ .(., "'?
<
lftr
tJ>t:>
child
~,~
dekitara
like
begin to understand
before from
t!. !!
da!
champion
is/will be
judo pound/drum into-and world
" Daddy, huh? If I had a child, I'd train him hard in judo from even before he understands what's
1!0in2 o n around him like lnokuma and (m a k e him) world champion. " (PL2)
Sound FX: 1!71!7 1f'7 il7
..
.
.
0
Gafu gafu gafu gafu (effect of shoveling food into his mouth)
dekirara is a conditional " if/when" form of dekiru ("be made/formed/produced").
. .. no yo ni after a noun means " like/in the manner of ..."
monogokoro refers to "discretion/judgment/understanding of things." Monogokoro (ga) tsuku refers to the process
of a child coming to understand the world around him/her, and the phrase here modifies mae ("before").
rarakikonde is the -re form of rarakikomu, literally "pound/drum imo," an idiom referring to teaching/instructing/
training someone vigorously/relentlessly. The panicle o, to markjiido as the direct object, has been omitted.
Nante
ne!
/\ --; /\ :; /\ '/ !!
Hahhahha!
Hanazono: ~Jt
.-/ken
1J~
ga
ne,
Fujiko-san
lie
to wa.
/ \ ~ /\ ~
Fu'iko:
IO}JIOB,
Jugatsu ti5ka,
.
.
1*~
tai'iku
(J)
-IJ~
no hi ga
~(_,~
tanoshimi
b. o
ne.
October lOth
physical education of day (subj.) is awaited eagerly isn't it?
"October lOth, Phys ical Fitness Day, will be awaited eagerly, won't it?"
''I can hardlv wait for October lOth Phvsical Fitness Dav. can vou?" ( PL2)
ranoshimi is a noun meaning "pleasure/enjoyment/delight"; when a future event is referred to as tanoshimi, it
means that event is awaited with eager anticipation - "[I] look forward to/can hardly wait for."
ne by itself often replaces desu ne ("is, isn't it/are, aren't you?"), especially in feminine speech. Herne here assumes a similar eagerness on his part rather than expecting him to confirm her eagerness.
85
Yawaral
S6
MAN GAJIN
Yawaral
(continued from previous page)
SoundFX:
Hanazono:
*~*~
fPJ
1Jf
Nani ga
what
.A
tJ''l
su ka?
(subj.) is
su is a contraction of desu. Some speakers habitually drop the de in desu when speaking informally.
Fu.liko:
-rm ...
-c: ~ ~ ~ -? t.::. o
Kodomo . . . dekichatta.
child/baby
was made
whose
is 7
and
(name)-(bon.)
's
Hanazono:
A..-,
He,
i-1
so
.A-IJ'-!!
su ka-!
is ?
Hanazono:
..t - ?!
E?!
"Whaa-a-t?!" (PL3)
adding the two dots to e is non-standard. It's presumably intended here to emphasize the intensity of his surprise/shock, and to reflect the fact that he has a mouthful of spaghetti.
MAN GAJ IN
87
Voc;ab u la ry S um mary
kokai suru
ko-sodate
kumitateru
setsumeisho
shiji
shiiri suru
uttaeru
r1i-r
ki!I.}J.3i.-r.o
i!tllt!f
mff-
~J.t-t.o
IDF~o
regret (v.)
child-rearing
put together
instruction sheet
instructions
fix/repair
sue (v.)
~""
ff:-tt-.0
kingyo
makaseru
tsuba
yukidaruma
'/I'<
~t.:.o
goldfish
leave to/entrust
spit/saliva
snowman
From OL Shinkaron, p. 41
:t:
El3i.
~~.:tr
~(>
~llliii
f'J:rt
~~-1*~
-mm-r.o
~p:;
~t'ME
l?~i l,..l;>
chlJsa
jiritsu
kangaekomu
kiyome
koklJ
saho
seimei hoken
shin 'yo suru
soshiki
totsuzen-shi
urayamashii
survey/investigation
self-reliance
ponder/brood
purification
superiority/aloofness
manners/etiquette
life insurance
trust (v.)
funeral
sudden death
enviable
From Obatarian, p. 44
ill!~
::f fl"r ")'I}
tt
litilli"o
;rem
~~~0
~ftfl!~1-t.o
,J,SJ
**
fllffli" o
iiltrr
L..b
chikyii
gokiburi
hakushi/hakase
hametsu suru
hanagara
ikinokoru
kakusenso
kansei suru
kozeni
mirai
riylJ s uru
ryiiko
shiwa
Earth
cock.roach
professor/doctor
be destroyed/be ruined
flower pattern
survive
nuclear war
complete/perfect (v.)
small change
future
utilize/make use of
popular/fashionable/in vogue
wrinkle(s) (n.)
tt.o
=f-t
.l:JIJ 1:
.::.;to{
*'II
*'
chiru
hosu
johin-ni
nioi
shinshi
ume
scatter
hang out to dry
in a refined/genteel manner
smell/fragrance
gentleman
plum
From Furiten-kun, p. 50
~<
~I! A
TJ--? I!o
7J~3t
13 ~b t)
as
aruku
hannin
hipparu
manpokei
mezawari
shindaisha
walk
criminal
pull/draw
pedometer
eyesore
sleeper car (on a train)
{$\;\
7'T
ncr
li-fT
'(}f)>~ f>
~-~
~11
J+M61J
~v:t~.o
ttgiJ
'l~11
l{.fl.
rlll~tt
bunan
erai
Juke
hairyo
hazusu
hikae-me
hikkomi-jian
iyaringu
jama
kaigi-shitsu
kansei
mimikazari
sashitsukaeru
seibetsu
sekkyoku-sei
shiryo
shlJkyoku-sei
safe/secure
illustrious/admirable
dandruff
consideration/forethought
tak.e off/remove
restrained/moderate
shy/withdrawn
earring(s)
hi ndrance/obstacle
meeting room
sensitivity/sensibility
earring(s)
distract from/hinder
gender
assertiveness/positiveness
data
passivity
:t~.o
MIJ
1t-? 11 lv
-=F.tl
-*
?~
bt.:~f>
kan zen-ni
oboeru
odori
sekken
teas hi
tehon
ude
wata-ame
completely/perfectly
learn/remember
dance (n.)
soap
arms & legs
example/model
arm/sleeve
cotton candy
From Yawara!, p. 69
fukumeru
furo
7 Jv.A o-;; !- Jv f uru surottoru
5C~1j:
genki-na
lifii
gorin
li 1J t.: .t3i"
haritaosu
iken
lf!,~
ikuji
li'?r
itsutsugo
l;lJ:I;lJ:
iyo-iyo
kajiru
il' 1.:0
kinjo
i!Iffl'
kotoshi
4-iF
kyonen
*iF
fr.'?r
mutsugo
~lfjRI!T
nagetobasu
oen
It-~
rainen
*iF
~RMAflsanfujin-ka
il-~
senshuken
shlJbu
shussan
11
tai 'iku
~l...}J.
tanoshimi
tomo
~
Mtr
umu
758
yotei-bi
~11'1:
zettai-ni
*t>.o
!l\8
-~
~-
include/contain
bath
full throttle
energetic/strong
Olympics
k.nock./slap down
opinion/think.ing
child-rearing
quintuplets
finall y/at last
gnaw/bite (at)
neighborhood
this year
last year
sextuplets
fling/hurl
rooting/cheering
next year
ob-gyn clinic
c hampionship
contest/match
c hildbirth
physical education
pleasure/enjoyment/delight
friend/companion
bear/give birth
due date
absolutely
The Vocabulary Summary is taken from material appearing in this issue of MA NGAJJN. It 's not always possible to give the complete
range of meanings for a word in this limited space, so our "definitions" are based on the usage of the word in a particular story.
90
MA NGAJIN