All posts by Cure Dolly

Language Acquisition Theories: How they can help you learn

How-to, Language/culture, ,
language-acquisition-theories-universal-.grammar
Make Universal Grammar work for you

In the previous article on modern language acquisition theories, we learned how Universal Grammar forms the basis for a child’s initial acquisition of language and generally how that acquisition actually works. Now we can turn to the practical application of the science.

What do these language acquisition theories mean for the language learner?

First, they mean that age is not any kind of a barrier to language learning. After the age of around ten you can learn language equally well at any age. The deciding factors are motivation, amount of study, degree of immersion etc., but not age.

The current language acquisition theories also mean that you will probably not become fully “native” though you may get very near it. They also tell us what the key to this is:

The more you can map your target language onto Universal Grammar rather than onto your first language, the nearer you can become to native.

Now there is a balance here. Especially in the early stages, learning via a known language is a very important short-cut. Remember that contrary to popular belief, small children do not learn language quickly. The number of “study hours” it takes a small child to be able to express herself even rudimentarily is very large indeed. By mapping onto your already-acquired native language at first you can and do cut down this time radically.

Learning grammar rules, as I have often said, is a quick-and-dirty shortcut to learning language. But it is a shortcut and it does work (here is how to go about it efficiently without getting bogged down in it).

Pseudo-immersion methods, like Rosetta Stone, which try to replicate the small-child-learning process fail for a number of reasons: there is no human interaction, it is not done for every waking hour, but primarily they fail and must fail because the user already knows Language. Whatever happens, she will be mapping what she learns onto her native language—just doing it very inefficiently. At the end of many, many hours she knows a lot of nouns, some verbs, and almost no grammar. If she doesn’t give up at that point, she will, very wisely, invest in a grammar textbook.

So do our language acquisition theories deny the possibility of immersion-learning for adults and older children?

Absolutely not. But these, I believe are the conditions:

1. If you can find a genuine 100% immersion environment—all Japanese all the time with complete isolation from your own language—then absolutely go for it. I envy you. You will learn even with no theoretical teaching—though it will take a long time and will actually be much faster if you have mastered basic grammar first. But having said that, it is probably the best way to learn.

2. Failing that, what can and should you do by way of immersion, and how will it work in accordance with our language acquisition theories?

Remember that our aim is, as far as possible, to map Japanese onto Universal Grammar and not onto English. You should start by learning the grammar through the medium of English (or your native language) because that quick-and-dirty shortcut will give you a big head-start once you begin the real thing.

What is the real thing? It will vary from case to case, but our aim is to think in Japanese, not to think in English and “translate” Japanese back to ourselves. To this end, we should:

a. Imbibe native materials (not for-gaijin Japanese) as soon and as much as possible. I have talked about how to do this via anime. Personally, I do not have any recreational activities in English. Japanese to me, outside of necessary English communications (like this one), is not “a language” but Language per se. If I can’t watch an anime in Japanese (with Japanese subtitles), I can’t watch it. If I can’t play a game in Japanese, I can’t play it. If I can’t read a book in Japanese, I can’t read it. I don’t allow myself any recreational English activity.

b. Talk in Japanese every day if you possibly can. Whether it is with Japanese friends or other learners. Some people worry about talking Japanese with non-Japanese people, feeling they may “learn wrong” or pick up mistakes. If you are doing a. you should be getting exposed to a lot of correct Japanese through that. But I also believe that even if you are picking up or cementing in some incorrect language that is not nearly as important as the fact that you are using Japanese regularly. Small children don’t always speak correctly, and often their conversation is with other children who don’t speak correctly. But they do use the language because it is, for them, Language per se—the only means of communication. So it should be when you speak Japanese: even if you both know English, if you can’t say it in Japanese, you can’t say it.

Ideally, it is good to have practice partners  with whom you only ever communicate in Japanese. This is important not merely because it extends the amount of time you spend speaking it. The most important element is a subtler, but vitally important, psychological one. You are building a human relationship in which Japanese is the only language—Language per se. Language is the basis of our human relationships, and human relationships are the basis of our initial acquisition and continued use of language.

You see the pattern here. What you are doing is carving out areas of your life where Japanese is not a language but Language per se. You are not practising Japanese, you are using it. If you want to say something to your Japanese-partner friend you have to say it in Japanese because there isn’t another language. If you want to see a movie or play a game, you have to use Japanese because there isn’t another language. Your limitations in Japanese are your limitations, period—at least for the areas of your life that have become Designated J-Zones.

c. Think in Japanese. This is probably the hardest part but also the one that will most effectively map Japanese onto Universal Grammar rather than onto English in your mind. You need to begin putting your internal monologue into Japanese. If not permanently, then at least for designated periods. While this is difficult, it is very possible. You can “dethrone” English from its place as your thinking-language though it takes a lot of ganabaru and a spirit of taihen da kedo zettai ni akiramenai (I definitely won’t give up however tough it gets).

And it will get tough. English will try to hang on to its position as your representative of Language per se—or Universal Grammar—like grim death. Inch by inch you will have to force it out. The more you do this, the more your “first thought” is in Japanese, the more you are mapping Japanese to Universal Language directly rather than to Universal-Grammar-via-English.

By these methods you are forcing your mind, at least to some degree, to map Japanese to Universal Grammar (its root language model) directly rather than via English. Thus you will be using language acquisition theories to your advantage and absorbing and using the language in the most natural manner.

NOTE: Since writing this I have discovered that learning to think in Japanese is much less difficult than I made it sound here if you use the method I recommend. I don’t know if this will work for everyone but it has certainly done wonders for me.

Language Acquisition Theories and What They Mean for Language Learning

Language/culture, ,

language-acquisition-theoriesLanguage acquisition theories have changed a great deal over the last half century. The most popular notions—for example that language learning ability declines with age—are based on ideas half a century old and not supported by the last several decades of research.

The idea that language-learning ability deteriorates with age is largely a myth. What is true is that very small children have one very important advantage in language learning.

Actually they are not that fast. It takes about four years to become fluent, but by no means adept, in one’s native language—and remember that children are “studying” the language almost every waking hour for that time. But their enormous advantage is that they don’t know any other language.

In some ways this is a disadvantage. It cuts out many of the shortcuts second-language learners can (and should) use—definitions of words, grammar explanations, etc. This actually does slow them down in relation to older second-language learners.

But far, far outweighing that disadvantage is the advantage that they learn language organically. They learn to associate words directly with concepts, not through an external medium (another language).

Many current language acquisition theories now accept the concept of Universal Grammar (UG). This means essentially that basic grammar is part of the inborn human mental apparatus. This theory is necessitated by the fact that small children learning language actually know more than they do, or can, explicitly learn.

What small children are in fact doing is mapping the local dialect (the native language) onto universal grammar structure that already exists in the brain. This is why, despite their great differences, the fundamental similarities of human languages are even more striking. They all have something like nouns, something like verbs, and something like adjectives, for example, and they all link them together to form descriptions of objects, events, and concepts in patterns that, while widely various, essentially work in the same way.

In the sentence:

Mary threw the ball at Susan

Mary is the grammatical subject, the ball is the direct object, and Susan the indirect object. English marks these simply by word order. If we say

The ball threw Susan at Mary

the ball has become the grammatical subject, Susan the direct object, and Mary the indirect object, and while the sentence may be absurd, it is perfectly grammatical and understandable.

German and Latin mark these three cases (subject, direct object, and indirect object) by declining the nouns with case-endings, making word-order largely interchangeable. Japanese does the same thing by appending a particle to each noun (ga,* wo, and ni respectively). But all the languages are doing the same thing. They are taking Universal Grammar and expressing it through different local conventions.

So each child begins, not with the tabula rasa (blank slate) postulated by the early-modern language acquisition theories of Rousseau and his followers in the 18th century, but with the fundamental structure of grammar in place and ready to have actual words and local structures mapped onto it.

To this child, the local words and structures she learns become the “incarnation” of Universal Grammar. She does not feel that she is learning “a language” but that she is learning Language. And in a sense, she is. She is learning, or more exactly actualizing, Universal Language in the particular form in which her local culture embodies it.

This is why the “native language” is nearly always more fluent than later-learned languages. To the mind, the native language is Language per se, while any second language is learned through the medium of the native language and therefore is mapped not to Universal Grammar but to the native language. It is a second-level mapping that can never be as organic as the primary mapping.

Many non-specialists are still influenced by 1960s language acquisition theories based on the exploded theory of the brain’s plasticity being greater early in life (it isn’t) and therefore language acquisition being easier at that time. They may point to the fact that a child learning a second or third language very early in life can pick it up to near-native level quite naturally.

The truth here is that the mapping of the local (native) language onto Universal Grammar is still not complete and “hardened”. Small children, even when fluent, still make many mistakes that even the most uneducated adult or older child never makes. Thus with the mapping still in a fluid state, a second or third language is mapped partly onto the first and partly onto Universal Grammar. In the case of a child exposed to two languages from birth, both may be mapped onto Universal Grammar and thus both will be “native”.

Now that we have looked at the basis of language acquisition theories, let us see how we can apply them to learning language in general and Japanese in particular, and especially to the problem of how we can try to map a second language to the Universal Grammar structure in our brains rather than to our first language. Because this is the key to near-native proficiency.

Proceed to: Using Language Acquisition Theories to Learn Language→

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*Those who would argue that if wa is used the grammatical subject has not been marked should read my essay I Am Not an Eel.

Kurisumasu no ongaku – Japanese Christmas Music

Kawaii, Little Notes

hatsune-miku-christmasIn response to Cure Yasashiku’s small dilemma about not wanting to fill her head with Eigo I am happy to present some Japanese Christmas music.

This video contains nearly half an hour of kurisumasu no ongaku by various vocaloids including the sugoku yuumei Hatsune Miku. If you don’t mind vocaloids this should suit everyone’s purpose. Personally I like to see some songs sung by dolls and not just people but I guess I’m prejudiced.

If you want to extract the sound for your iPod you can use one of the many online youtube to mp3 services, or better (if you do it often) install an instant-mp3-download button via an addon to your browser (more details in the KawaJapa Japanese Resources List).

There are a very few English phrases (like “Jingle Bells”), and White Christmas is sung in (very Japanesey) English. Apart from that it is all Japanese – with translations of several traditional carols. If you do pick up any English, at least it will be with a heavy Japanese accent! (Actually if anyone wants I can do a quick audio-edit and cut out White Christmas).

It also has nice clear subtitles so you can learn the words.

For a llittle bonus, here is a not so traditional but charming Christmas song, all in Japanese (other than the words “Merry Christmas”)

https://www.youtube.com/watch?v=88Xb2EPij7w&list=PL7FF2C0DCFD6FC031&index=16

PS – I viewed one Japanese Christmas music kinnie that didn’t quite make the cut – but it had the immortal words: Ichi ni Santa!

A Key to Japanese Kanji Pronunciation: Meet the Sound Sisterhoods

Kanji, , ,

sound-sisters-japanese-kanji-pronunciationJapanese kanji pronunciation is one of the difficulties learners have with Japanese.

Since kanji are not phonetic symbols it can be difficult to know how they are pronounced. And unlike their Chinese cousins, most kanji do not have a single reading. They will be pronounced differently in different words.

One important aid in coming to grips with this are kanji elements (or “radicals”) that are actually there to indicate the pronunciation. These seem to be little taught, but they are in fact very useful.

Learning all the sound elements can help you with around 65% of kanji. They aren’t all here, but a lot of the main ones are. The 80-20 rule works in your favor here, and by learning the ones on this page you will have sound keys to a surprising proportion of words you are likely to encounter.

Update: We now have a free Complete Sound Sisters Anki deck containing most of the regular sound-elements

One of the problems with them is that they are not consistent. There are exceptions to the pronunciation “rules”. I actually prefer to think of certain kanji-elements as “dominant genes”. If you see a kanji that includes one, it is pretty likely to be pronounced in a particular way.

Since it is not absolute, is it really useful? I would say from experience that it is very useful. As we have said before, if you are writing on electronic devices (as most of us are most of the time) kanji recognition is the vital skill in both reading and writing.

If you know (as you often do) the pronunciation of a word but are unsure of the kanji, you type it, see a group of kanji and the one that has the correct sound element is very likely to be the correct one.

If you see a two-kanji word you are unsure of, and one (or both) have the sound kanji, you can try sounding it out and as likely as not you will remember it.

This method obviously cannot teach you things you really don’t know. But it can be a huge mnemonic for things you do, or half-do, even if only vaguely.

Also it helps in subtler ways with seeing how Japanese words fit together and work.  The more hooks you have to hang things on the more everything comes together in your mind. So, for example, when you meet a new two-kanji word and the pronunciation of one half is governed by one of these sound-elements, you say “ah yes”. The more times you say “ah yes”—the more pegs there are to things you already know—the more likely you are to remember the word. That is how the mind works.

One other problem that may make the use of this knowledge difficult and therefore less used than it should be is that it would tend to involve learning lists of sound readings that look pretty random and unconnected.

That is what this page is really here for. We are going to put the sound-elements together into little families that will make them much easier to learn.

Video introduction to the Sound Sisters

One point to bear in mind is that while some people talk about “sound elements” and “meaning elements” in kanji, implying the sound elements do not also carry meaning, in fact they most often do. If they didn’t there could be a standard element for each sound.

The sound element will often be obviously connected with the meaning, and where it isn’t it is likely the case that the connection is just not obvious and lost in the mists of time.

This is important because sounds do have meanings, or at least meaning-tendencies in Japanese. It is a subtle phenomenon—generally too subtle for the highly quantitative approach of Western scholarship to take much notice of. But meeting the sound-sisterhoods will help you to understand this a little more and deepen your intuitive grasp of Japanese.

Some of our associations are, of course, purely fanciful mnemonics, but we think you will find them useful.

This is not a full list but it contains a lot of the more useful and regular kanji sound elements. As you start to use them you will find that you discover others, including some small-but-useful one-off associations—for example 早 fast/early has the on-reading そう for example 早々 can be either hayabaya or sousou. 草 grass also has the on-reading そう as in 草原 sougen.

What to look for

When using these sound-elements, remember that they do not usually apply to kun-readings. That means if you see one of these kanji on its own with okurigana (following kana) it will most likely not have the pronunciation listed here. For example, the kun-reading of 照る to shine is てる, not しょうる. You will mostly find the pronunciation as listed below when the kanji is part of a two-kanji word.

All righty. Let’s meet the girls:

The Show Sisters 召　肖　昌　 尚 (Shining SHOWgirls)

The four Show sisters give the Japanese kanji pronunciation しょう

They are bright, shiny, and seductive.

One is a shining moon 肖. One is a shining face 尚 with smiling mouth open wide and eyes crinkly-closed so you can’t see them. Note that the “shine” is really a miniature of 小, small, whose on-reading is also しょう as in 小学).

One is two suns, 昌 meaning “shine”. Three suns 晶 meaning sparkling, clear, or crystal also contains this radical and is pronounced しょう in combinations.

The last sister is 召 which has the root-meaning of “seduce” or “summon”.

So there we have the four Show sisters: shining moon, shining suns, shining face, and seductiveness. We hope you will get to know them.

The Show sisters in some of their Shows:

肖 (しょう) → 宵, 消, 硝
尚 (しょう) → 常, 裳, 掌
昌 (しょう) → 娼, 唱, 菖, 晶
召 (しょう) → 招, 沼, 昭, 紹, 詔, 照

The Ka Sisters 化　可　果　過 (KAwaii Flower-Girls)

The four Ka sisters give the Japanese Kanji pronunciation か.

They are the flower-girls.

One is 化, the ka of 花 flower, whose on-reading is ka (the root-meaning of 化 is “change”— in the case of 花, grass that changes from mere green into beautiful forms).

One is 可, the ka of 可愛い kawaii.

The third Ka sister 果 means fundamentally fruit—abundant fruit—look, there is a whole field’s-worth of fruit growing on that one tree. It can be fruit either literal or metaphorical (a result).

The last Ka sister means 過 “excess”. When you think of the abundance of that fruit you can see why.

The Ka sisters are the grass-type Pokemon of the Japanese kanji pronunciation universe.

The Ka sisters in their flower-shows:

化 (か) → 花, 貸, 靴
可 (か) → 河, 何, 荷, 苛, 呵, 歌
果 (か) → 課, 菓, 踝, 顆
過 (か) → 渦,  堝, 鍋, 蝸, 窩, 禍

The Ki Sisters 几　其　奇　己 (KEEpers of the KEY)

The Ki sisters give the Japanese kanji pronunciation of き.

Where is the key?

The first Ki sister hides it in plain sight on her desk 几.

The second Ki sister hides it on a table loaded with sweets 其 (甘い sweet).

The third Ki sister 奇 keeps hers in a very strange place. We don’t even ask where, but we do note that when the ka of kawaii 可 has something big on top of it, it stops being ka and becomes 奇 ki. I think it is squeaking because of the sudden weight.

The last Ki sister 己 keeps it to herself. She is actually a snake who swallowed it.

The Ki sisters in their key positions:

几 (き) → 机, 肌, 飢
其 (き) → 期, 欺, 棋, 基, 旗
己 (き) → 起, 記, 紀, 忌
奇 (き) → 崎, 埼, 椅

The Sei Sisters 生　正　成 　青　(SAInts and SAges)

The Sei sisters give the Japanese kanji pronunciation せい

Sei can mean “holy” in Japanese, and the Sei sisters are connected with purity, righteousness, and fundamental things.

The first Sei sister is 正. We probably first meet this kanji in the word tadashii—correct, just, perfect.

The second Sei sister is 生  meaning life and purity.

The third Sei sister is 青 blue, the color of heaven.

The fourth Sei sister is 成 wearing a knightly helm and armed with a ceremonial sphere. She is actually the kanji for the very common word なる to become—though it is usually written in kana. She does a lot of work in compounds though.

NOTE: It is worth remembering that sei has a strong tendency to become shou/jou.
Examples:
性 which means a thing’s nature or sex is sometimes sei and sometimes shou.
The usual on-reading of 城 shiro, castle, is jou.
情動 is pronounced joudou.
正 is sei in 正義 but shou in 正直。

The Sei sisters doing some of their good deeds:

正 (せい) → 征, 政, 症, 整, 性, 牲
生 (せい) → 姓, 性, 星, 牲, 惺
成 (せい) → 盛, 誠, 筬, 城
青 (せい) → 清, 靖, 精, 晴, 請, 情, 鯖, 静

The Shi Sisters 士　司　次 (She-Knights)

The three Shi sisters give the Japanese kanji pronunciation し。

The first Shi sister is a she-samurai 士.

The second Shi sister 司 wears a knightly helmet with a mouthpiece and eye-slit (the left side is left open so she can get into it).

The last Shi sister 次 is not one actually of the knights but their dependable follower.

The Shi sisters on their knightly errands:

士 (し) → 仕, 志, 誌
司 (し) → 伺, 詞, 嗣, 飼
次 (し)  → 姿, 諮, 資

The Kou Sisters 工　交　光　(The COÖperative of Makers and Scene-Changers)

The three Kou sisters give the Japanese kanji pronunciation こう

The first Kou sister is 工, craft or making.

The second is 交 change, alternation.

The third is 光, the basic kanji for light but in combinations often refers to a scene or watcher.  As you see in the list below, the third sister doesn’t do a lot of work in compound kanji, but you’ll often see her on her own. For example in 光景 koukei, scene or spectacle, 観光 kankou, sightseer.

The Kou sisters in their workshops:

工 (こう) → 紅, 空, 虹, 江, 攻, 功, 肛,
交 (こう) → 校, 絞, 狡, 較, 郊, 効, 咬
光 (こう) → 恍

Hit Singles

Next we look at some pronunciation elements that don’t have groups, but they are pretty regular and well worth knowing:

分　ふん / ぶん（粉, 紛, 雰）

白　はく（伯, 拍, 泊, 迫, 舶, 狛, 柏, 箔, 珀）

中　ちゅう（忠, 沖, 仲, 虫, 狆）

長　ちょう（張, 帳, 脹）

及　きゅう (吸, 級, 扱）

寺 (じ)  （侍, 持, 時, 塒, 峙）  (But wait! note that 待 wait is not pronouncedじ in modern usages).

And others

Look, two hans! 半, 反 very useful, common and quite regular han/ban pronunciation.

The Kan sisters 干　官　（見）They are in the canning business, which was originally, before the invention of cans, the drying business. 干 means drying or dried while 官 is an official (as in 警官 keikan, police constable). Originally this meant the officer who held an umbrella over the Empress to keep her dry. 見 is only a half-member of this group as she is either kan or ken (more often ken). Ken, in English is to know – a concept always conceptually connected with seeing while can is a dialectical variant of ken, as in canny.

The Hobo Sisters 方（ほう、ぼう） 亡（ぼう、もう） There are only two Hobo sisters and as you might expect they are a slightly raggedy pair. 方 is pronounced either hou or bou (of course using the voiced version can occur with other sounds as well) while 亡 is pronounced either bou or mou. The b/m slither is not uncommon in Japanese—as in さびしい / さみしい。The root-meanings of the sisters are direction and death respectively. Whatever direction these hobos wander they are always going in the direction of death. But then, aren’t we all?

The Shin Sisters　申　辰　Interestingly these two sisters are both Chinese zodiac signs, the monkey (saru) and the dragon (tatsu). For our purposes we just remember that when the wheels fell off the chariot 車 someone hurt her shin. Occasionally the top of the axle falls off too 押 and it still gives the reading shin.

There is another dominant-gene sound-radical we may like to consider here: 立 – its dominant on-sound in complex kanji is りゅう ryuu. Interesting because the regular word for dragon is りゅう, while the kun-reading of 立(つ) is たつ tatsu – which should make 立 as りゅう quite memorable. Note that the 立 radical appears in the kanji for dragon 竜　(りゅう, ryuu)  itself. (But be aware that the on-reading of 立 when not part of a complex kanji is more often りつ).

The Hi-men 皮　非  The pronoun “he” is of course 彼 in Japanese and its right-element 皮 usually gives the reading ひ hi or は ha in complex kanji. 非 as a prefix is hi, and means un- or not- (as in 非常 hijou, unusual) or adds a generally disadvantageous or unfavorable aspect to what follows. It can also give the reading ひ hi in complex kanji.

Note: Bear in mind that common kanji may have their own on-readings that override the Sound Sisters. For example 士 is usually shi, but 売 “sell” is regularly on-read as buy (bai) and 声 “voice” as say (sei) as in 声優 seiyuu.

We now have a free Complete Sound Sisters Anki deck containing all the elements on this page plus many more, featuring mnemonics and audio.

You can also see Cure Dolly’s retrospective assessment of the Sound Sisters after two years of using them in the second half of this interview.

Kikitori: Japanese listening – the Dolly Sentences Method – Technical how-to-do-it

How-to, , ,

I have talked a bit about the dolly sentences method of kikitori or Japanese listening study. Or rather, general Japanese study with an emphasis on listening. Now we are going to look at the technicalities of how it is actually done.

I am using a Mac, and as we will see, there is a certain advantage in that, but for the most part the method will be similar for other operating systems.

First, in your Anki you need to install an addon (Tools > Addons > Browse & install) – one or both of Awesome TTS and Google TTS. Once you have installed it/them, you will see one or two speaker icons added to the top bar of the add card window:

kikitori-japanese-listening-2If you click one of these it will give a window like this.

kikitori-japanese-listening-3Here you can type or paste the text you want spoken and click the preview button. If you get silence, it is probably because you haven’t changed the language. The language drop-down must be Japanese for Google or Kyoko for OSX’s voice system (unless you are using an Apple device don’t worry about Kyoko).

The text will be read back to you. You may need to make some changes. Sometimes the synthesizer will read kanji incorrectly. Kyoko – while in most respects the best consumer-level voice-synthesizer available – is particularly bad about this. She reads 人形 as ひとかたち, for example – particularly galling to a doll. If that happens just re-spell the word in kana. You may also need to add or delete commas to get the sentence read in a way that is clear and understandable.

When you are happy with the synthesis, just hit OK and the file will appear wherever your cursor was when you opened the box (I have an Audio field on my cards as you can see in the first screenshot).

This is really all there is to adding spoken sentences to Anki. For my method I have the audio file play on both the front and the back of the card.

You can then harvest the sentences to put them on your MP3 player in accordance with the Dolly Sentences Method. It really is easier than you might think. First you need to find them, and they are in your Anki folder in a sub-folder called collection.media. Here it is (you can click the image to enlarge it):

kikitori-japanese-listening-1Let’s look at the red rings.

1. (top and bottom) shows you the file-path on a Mac. It will be similar on Windows. Just search “collection.media” if you have trouble finding it.

2. shows you the actual sentences. They are small MP3 files. If you are using Mac OSX’s Kyoko voice, the title of the file is conveniently the sentence itself.

3. If you are using the Google voice synthesizer the title is a lengthy code. But don’t worry because:

4. You can always use the date of the file to show you what you have added recently.

What you will do is simply copy-drag all your recently-added sentences into a folder and add this to your MP3 player. It really is as simple as that.

Update: Google TTS no longer supports Anki, but Awesome TTS now gives access to the vastly superior Acapella TTS engine among others. This also has the advantage that you now only need one addon to choose between Acapella and Apple’s Kyoko voice if you have her. You can also now choose human-readable filenames for everything. The instructions in this tutorial still apply.

Here is a sample, complete with recommended 3-second break, to show how the sentences actually sound:

These sentences are spoken by Mac OSX’s Kyoko voice, which, apart from her problems with Kanji reading, is in my view the best Japanese voice synthesizer available. The third sentence is spoken by the Google synthesizer, so you can hear the difference.

I use about 95% Kyoko with the Google alternative for the minority of occasions when Kyoko really won’t read a sentence well (this also mixes up the speech a bit, which I think is good). Google’s synthesizer will be installed automatically when you install the Google TTS addon. If you are using an i-device (iPad, iPhone etc) you should be able to use Kyoko too, though I am not certain about this (please let me know in the comments if you find out).

Kyoko speaks well and naturally for the most part, and actually knows the difference in tone between many Japanese homophones. For example if you type 奇怪 kikai (strange, mysterious) and 機械 kikai (machine), Kyoko will pronounce them each with the correct syllable raised, which is what differentiates them in spoken Japanese.

If you end a sentence with a ? Kyoko will raise her tone into a question intonation very naturally. The Google synthesizer does not do this, neither is it aware of tone differences between homophones. On the other hand, type a ! and Kyoko ends the sentence with a funny noise, and she makes far more kanji errors than Google. Neither of these problems really matters (just avoid ! and re-spell mispronounced kanji in kana).

The Apple synthesizer is considerably ahead of Google’s alternative and yet is in some minor respects surprisingly unpolished. But if you have a device that supports her you should definitely use her.

So there you have the technical aspects of the Dolly Kikitori sentences method. If you have any questions or want to share your experiences, please use the comments section below. For the method itself, please go here.

Kikitori – the Dolly Sentences Japanese Listening Method

How-to, ,

kikitori-japanese-listeningI was a little hesitant in writing about my kikitori Japanese listening sentences method, because it may be somewhat idiosyncratic. However, it is working well and friends have taken some interest, so I’ll go ahead.

I have read about the 10,000 sentences method of Japanese learning which is recommended by some immersion-inclined sites. Frankly, I could never fully understand it — but then I am just a doll. I fiddled with it for some time and never really got to grips with it.

I did, however, like the idea of learning Japanese in sentences rather than just words. After all, that is how children learn language, and it gives one the feel of what just “sounds right”, rather than merely knowing grammar rules. I am by no means saying one shouldn’t know grammar rules — often one needs to — but I have always argued that grammar is a quick-and-dirty shortcut by which adult learners half-learn a language from the outside rather than actually knowing inside what feels right. Shortcuts can be good. They can even be necessary. But you don’t know a language till you can feel it. You only know about it.

My new assault on the sentences method came about partly as a result of my looking for new ways to improve my kikitori — Japanese listening. I started turning the sentences into digitized speech and putting them in Anki. I would review with my eyes shut and only count myself correct if I got the sentence first time without looking. If I couldn’t, I would give it a second hearing, and if I still couldn’t get it I would open my eyes to see the Japanese text. Only as a last resort do I turn the card over to see the furigana. This rarely happens (after all I can both see and hear the text if I need to open my eyes). The very last resort is to scroll down to where I have (sometimes — when I think I might need it) hidden a translation. This I try not to use and rarely do.

There is a second phase to this method, and that is putting the sentences on an MP3 player. I then play them on a random loop in any spare times (when cooking or walking, for example, and often when resting).  I use this a lot, which means I get a lot of exposure to the sentences.

I put a three-second gap between sentences. This is the most my player allows (annoyingly, I don’t think iPods have a means of doing this at all). This gives me a little time to think about a sentence after hearing it, and I think this is important. It is true that in the wild you don’t get any thinking time. But if you are at the stage when you can’t catch much in the wild (in anime or regular non-foreigner-directed conversation), this is what you need in order to get there.

In those three seconds you do certain things and one of them in particular is, I believe, fundamentally important to kikitori or hearing Japanese (or any other language). You correct what you hear. In our familiar language I believe we do this all the time. We hear the word “bubble”, realize that doesn’t fit the sentence we are hearing, and correct it to “double”. We hear the word “wise” and correct it to “wives” (or if we actually don’t understand the context, we don’t — which is why so many people make the blooper “old wise tales” in writing — Google finds over four thousand instances of “old wise tales”).

This common slip (and many others) underlines my point. It really isn’t easy, even in one’s native language, to tell “wise” from “wives”. Ninety-nine percent of the time we understand what the sentence should be and correct mishearings so fast we don’t even know we’ve done it. It is one of the key subliminal skills that makes kikitori — in any language — possible.

With a three-second gap between sentences, we are able to perform this correction-hearing in slow-ish motion, which, at this stage, we need to.

Now, as I have pointed out before, language consists to a very large extent of set phrases and collocations. Words go together in the same groups most of the time. That is a large part of the reason that kikitori is actually possible in any language.

Hearing sentences and auto-correcting (in slow motion at first) lets one go through the same process a child goes through. She hears words together. At first she mispronounces them, and even when she knows what a common word-group means she may not fully understand what the component words are. Slowly it all starts to make sense.

During sentence-listening we think we hear “kaishite”, for example, and realize it must be “taishite”. We also start to get the feel for the fact that in hundreds of similarly-constructed sentences we will hear in our Japanese-language life “kaishite” is actually going to be “taishite”. After a while it won’t even matter, because just as in reading we don’t need to see (and don’t, as studies have shown, even look at) all the letters, so in kikitori we don’t need to hear all the sounds. We get the pattern and fill in or auto-correct the gaps. If we don’t know or fully understand a phrase (such as “old wives’ tales”), even in our first language, we can’t auto-correct and we may go through life hearing it wrongly, as many people in fact do.

The vital point to grasp here is that while our natural, “naive” view of native-language kikitori is that we hear correctly and therefore understand, to a large extent the reverse is true: we understand and therefore hear correctly. Of course both are going on at once, and it is the interplay of the two that makes language-understanding possible.

With one phrase (like old wives’ tales) mishearing doesn’t matter very much. In fact we end up knowing what the phrase means even while consistently mishearing it. But when, in Japanese, we are faced with dozens of phrases that we can’t auto-correct, or can’t auto-correct quickly enough to keep up, then we can’t understand what is being said.

So the three seconds between sentences gives us a kind of middle ground. Doing the sentences in Anki we can ponder the sound at our own pace. In the wild we have almost no time. On the MP3 player we have three seconds to auto-correct anything in the sentence that needs it as well as to muse on the grammar, realize, perhaps on the 30th hearing, “ah, so that‘s why…” and so on.

These are all things a child does. Those of us who grow up continually pondering the ins and outs of language are probably more childish than odd. Children have to do a lot of that for the first several years. Some of us just never stop.

There are many important and interlocking benefits to this sound-sentence method. When we learn vocabulary via Anki, we only know the definitions of words — not how they are actually used. Now when I am going through my vocab Anki I am continually stopping with “that one needs a few sentences”. Once I have become familiar with several sentences using the word, I am much clearer on its range of uses and its nuances. I am also much less likely to forget the word.

In doing all this we are going through the process a child goes through. We are learning how words fit together, what they imply, what their near neighbors are likely to be in a sentence. We are also building up a fund of examples in our mind which we will use, sometimes consciously, but often — and this is where language starts to become natural — unconsciously, to compare with new sentences and new uses of the same words in different contexts. You build up your feel for the language. You start to hear what “just sounds right” without necessarily knowing why.

Surprisingly, the hearing sentences can even help with kanji, since one will sometimes in the Three Seconds think「あぁ。それは緊張の緊ですね」(“Ah, that’s the 緊 kin of kinchou, isn’t it”). Because that is part of how Japanese words fit together and mean what they mean.

Currently I am at 1,600 sentences using this method and I am finding it extremely useful, not only for kikitori but for every aspect of Japanese.

The “throw ’em in at the deep end” school may complain at the three seconds recognition-time, but I am not suggesting  that sentences should be our only listening practice. Full-speed native Japanese materials should definitely be used. But using this method, I think you will find that your ability to process that full-speed Japanese progresses a lot more rapidly.

How do I get spoken sentences in Anki? How do they actually sound? How do I get them to my MP3 player? Find all the answers in our sister article on the technical tricks of the Japanese-listening sentences method. It’s easier than you think – even a doll can do it!

Shiritori – A Japanese Vocabulary Word-Game

Little Notes

shiritori japanese vocabulary gameThe Kawaii Japanese Habit RPG guild (Japanese Deep Cave Adventurers) has a ongoing Shiritori game, so I thought we should have an explanation of the game and how we play it here. Also, since one of the rules of the Deep Cave Adventurers is that we use no English in the Guild, this may be helpful for newer learners.

Shiritori is a popular game in Japan. The name means “taking the end”. 尻 shiri is the same shiri as in oshiri, which you probably know means sit-upon, rear-end or backside. As with those latter English terms it can also mean the back or end of something. 取りtori means taking of course, the noun form of 取る toru. The word shiritori is usually wriiten in hiragana.

Gameplay is very simple. The first player  begins with a word, say:

しりとり（shiritori）

The next player must follow with a word that begins with the kana the first word ended with, say:

リス（risu, squirrel)

The game then proceeds like this:

砂浜（すなはま sunahama sandy beach) →ま

枕（まくら makura, pillow) →ら

ラッパ（rappa, trumpet)　→ぱ、ば、は

As you see from this last example, one can use all forms of a kana so if the word-ending kana can take a ten-ten or a maru you are allowed to use it with or without them regardless of what the last player did.

So ラッパ（rappa, trumpet) could be followed by パンダ (panda) バラ (bara, rose) or はいく(haiku).

Shiritori rules

Shiritori at the Deep Cave Adventrurers' Guild
Shiritori at the Deep Cave Adventrurers’ Guild

The rules of shiritori are few and simple, and we are very relaxed about them. The idea is to have fun together and practise Japanese, not to play a cut-throat game of shiritori, so we don’t worry too much about rules. But let’s discuss them so we all know where we stand:

1. Words ending in ん. One shouldn’t really play a word ending in ん. This is obvious since no Japanese word starts with ん, so it can’t be followed. In a proper game a player who plays an ん-ending word is eliminated. Don’t worry though. If someone does it by mistake, we will just start again with a new word. No one gets eliminated in our game!

2. Nouns. In traditional shiritori only nouns can be played. However, in English shiritori (shiritori played by Japanese people to help their English vocabulary) all words are allowed. We follow the same rule. There is a tendency to use nouns as somehow they feel “right”, but any word is allowed. If you are a beginner, play anything you like. And whoever you are, if you have an interesting word you feel like playing, 遠慮しないで — go ahead.

There is only one thread at the Guild, so shiritori mixes freely with chat. If you want to talk about the word you’ve played, please do. In Japanese, of course.

3. Combined kana. We like to keep play options as open as possible and this is also traditional in Japanese play, so:

りょ、ぎゃ etc can be followed either by themselves or by よ、や。So 遠慮 (えんりょ, enryo) could be followed by 料理 (りょうり ryouri) or ヨーグルト (yogurt)

Long vowels can be either shortened or the last kana used. So 自由 (じゆう jiyuu) could be followed by 雪（ゆき yuki) or 海 (うみ umi).

4. Repeated words: It is best to avoid repeating words (you can use your browser’s page-search function to see if the word has been used before recently). Words with the same kana but different kanji are fine. Traditionally a player who repeats a word is eliminated, but we don’t do that, so if you accidentally repeat a word, 気にしないでください— don’t worry about it.

Shiritori is very easy, so even if you are a beginner, please feel free to join in if you are on Habit RPG. If anyone has any questions (including new people and established members of the Guild, of course), just pop them in the comments below.

Japanese L and R sounds: Eating Remons and Linging Bells

Little Notes
Misora Hibari
Misora Hibari — if you don’t know her, you should!

It is well known that Japanese speakers can have trouble distinguishing L from R in European languages. Even when they can pronounce both sounds perfectly, they are prone to eat remons and ling bells. I remember the wonderful Misora Hibari singing a Gershwin song (I think it was Gershwin) in perfect English except for the word “rove” — which did not mean wandering, but rhymed with “glove” and meant ai (or koi if you want to carp).

This is perfectly natural as Japanese makes no distinction between the two sounds, and part of the way we learn language is that at a very early stage we learn to distinguish signal from noise in language and discard whatever is not signal. This is a necessary part of learning to hear and speak efficiently.

In Japanese one thing that gets discarded is the L/R distinction. In Japanese that distinction is just noise. Studies have shown that at 12 months Japanese children can still hear the distinction and by 18 months they can’t.

Don’t laugh. You have thrown away a lot of sound distinctions too. An Arab would be amazed that you can’t tell the K-sound in cap from the K-sound in keep, which are two distinct sounds in Arabic* (though they have a hard time telling pat from bat). Fortunately Japanese doesn’t have many subtle linguistic distinctions that we have discarded, though many Western speakers have a lot of trouble pronouncing the Japanese R.

Part of the steep learning curve in hearing a new language is getting the brain to retrieve some distinctions from the “noise” discard area and restore them to the “signal” category. This applies (probably more importantly) to things like stress and rhythm as well as pronunciation.

The L/R non-distinction can lead to curious transliteration problems. The famous early space shooter game Gradius is one interesting example. Why “Gradius”? The name means sword in Latin, or rather the Latin word for sword is gladius. You know it, actually. One reason that Latin-based languages are relatively easy for English speakers is that just about every Latin word exists somewhere in English. You may never have called a sword a gladius, but you know the sword-flower gladiolus (plural gladioli) and you have certainly heard of gladiators.

But it isn’t only Japanese people who make these L/R slips. in Pretty Cure Splash Star a very important villain is called キントレスキ. This is routinely transliterated as Kintolesky or Kintoleski by Western sources. It sounds kind of Russian and is probably supposed to, but…

"Kintolesky"? What's that got to do with muscles?
“Kintolesky”? What’s that got to do with muscles?

The name does actually have a meaning. In Japanese 筋トレ kintore means body-building. It is short for 筋トレーニング kintore-ningu, literally muscle-training. And Kintoreski is obsessed with exercise and body-building, so the name is very appropriate.

To make its meaning clearer キントレスキ could be written 筋トレ好き Kintoresuki “likes body-building”, “body-building fan”. The name is also intended to sound Russian, hence the look of the mustache and hair. There is also another pun here:  金 kin means gold and Kintoreski’s body is gold-colored.

However, the tore part of the name is clearly a regular Japanese shortening of English “training”, so tlansriterating it as Kintolesky — which makes it tole→tlaining — lleary doesn’t make sense.

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* The k-sounds in cap and keep are different in English as well, of course, but only accidentally, depending on the juxtaposition of different vowels. English speakers can’t hear the difference or make the sounds independently. Interestingly (and related to this) the Japanese hear the English KA sound so differently from the Japanese KA sound that they write it キャ instead of カ。

Kyary Pamyu Pamyu acquired her first name as a nickname in school “because she seemed so Western-like”. Something that may puzzle actual Western people since kyary is not an English or other-Western name. I think the point was that the キャ kya sound (as in Kyatherine) which Japanese people hear when English speakers say “ka” is considered archetypally Western. It is not a sound that exists in Japanese. か is a different sound, though most Western speakers can’t hear the difference.. She liked the name but added Pamyu Pamyu to make it more kawaii. Which just shows how (thankfully) Western she isn’t.

Localization: Why Anime Translations are so Wrong (even when they don’t mean to be)

Language/culture

Most of us here at Kawaii Japanese prefer to play games and watch anime in the original Japanese if we can. Even if no changes have intentionally been made the English translations usually have a  very different atmosphere from the Japanese.

Some of this is connected with the practice of “localization”, but a lot simply stems from the fact that Japanese just isn’t directly translatable into English. It says things in different ways to the extent that in many cases it is actually saying different things. The English translation is not so much a translation as something like what the original was saying.

Extreme “localization” means essentially pretending the Japanese characters are American and making them talk and think as if they were. You have probably seen examples of this. However, the problem is that the line between localization and translation is much thinner than many people realize. To a large extent one has to localize while one translates because what the Japanese characters are actually saying either doesn’t exist in English or can only be said by using very wordy and unnatural English to translate a one-word Japanese concept.

Even the textbooks and dictionaries are full of “localization”. The world oishii, for example, is routinely translated as “delicious” however, as we show elsewhere, that is only a rough and sometimes misleading approximation of its real meaning. I am not blaming the sources in question. A real explanation of oishii takes a small essay (which I wrote), but that is hardly practicable for a vocabulary list or a dictionary.

Generally speaking, where the source material is quite gentle, the English translation has to come over as “rougher” and more casual, because modern English just works that way. In fact once one tries to translate these things one begins to realize how far modern English forces one into certain attitudes and cultural “boxes”.

Which in my case, at least, is one reason for learning Japanese.

Just for fun, let’s take a very brief humorous caption to a picture (I love Japanese caption contests but please note that this is strictly for academic purposes and not just because Cure Dolly wants to post a kawaii picture of a tanuki holding a kitten).

I tried to translate the caption, and although it is only a few words long I found that I ran into various small problems. None of them were really serious, but multiply this by several thousand words and you can imagine how, with no conscious attempt of localization at all (which is rare in fan translations and pretty much non-existent in professional translations), the whole tone of a work is completely changed.

why-anime-translations-are-wrong
Tiny as this caption is, there are several nuances that are just about impossible to render in English. The English version is still fun and cute, I think, but it loses quite a bit.

Here is my English translation:

“Hey, Mama, can we keep her?”

ねぇ ne is endered in my translation as “hey” because I don’t know a closer English equivalent. It is an attention-calling word, like “hey” but its shading is a little different. Both are a bit insistent, but “hey” assumes a kind of egalitarian attention-calling, while ねぇ has a more from-below flavor to it, like a little sister pulling on one’s sleeve. It is decidedly cuter.

Actually even the first question mark (after ママ mama) represents a particular tone of ねぇ-sentence  which some of you will be familiar with. It  calls attention quite strongly before proceeding to the point. If I tried to get that across in English it would feel kind of bratty, which isn’t how it sounds in Japanese (it can, when, say, Dokin-chan does it, but mostly it doesn’t, and even with Dokin-chan it is still cute).

このこ（この子） kono ko means literally “this child” but it is not restricted in meaning to the extent that English “child” is. Maybe “this little one” would be better, but that starts to get much wordier than the original, thus losing its brevity and immediateness, and is also not a regular expression in current English as この子 is in Japanese.

飼って katte is rendered as “keep” in English and I don’t think that loses much, but 飼って very specifically means “keep and look after as a pet”. There isn’t an equivalent English word.

Taken together the English translation necessarily loses something of the flavor of the original. More interestingly though, this shows how even a very small and very simple sentence can only be rather roughly translated, even with extreme good will on the part of the translator and no desire to “localize” in the sense of virtually turning the speakers into Americans (as many Anime translations do).

This caption was not selected to demonstrate translation problems. Rather the reverse. It is a very straightforwardly translatable sentence compared to many. What it shows is how even a non-problematic sentence can’t really be exactly rendered. When you multiply this by hundreds and add in some real cultural/linguistic problems (which leave the translator with the choice of long footnotes or just re-writing the sentiments into American ones), you can imagine how far from the original even a conscientious translation will fall.

Which is one reason it is important to watch anime in the original if one can. And why, if one is learning Japanese, it is best, after the early stages, to learn Japanese words as Japanese words rather than learning their nearest English equivalent.

Denpa Ningen no RPG Free – Review

Reviews

If you have a Japanese 3DS you really should download Denpa Ningen no RPG Free. As the name suggests, it is muryou, tada, roha – or as we say in English, free. And what’s more it is good. A great deal better than many games that cost thousands of times as much. Oh wait, that’s still nothing isn’t it? A great deal better than many games that cost lots and lots of yen.

And it really is excellent Japanese practice apart from being a ton of fun and a banshee of tanoshii.

denpa-ningen-RPG-freeIf you’ve never played a Denpa Ningen game before, you may not realize that the eponymous beings are little folk who inhabit the electrical waves. There are actually a lot of them in your house. Maybe not exactly in your house because I think it might be a parallel dimension or something. But co-existing spatially with your house. Don’t look now, but there is quite possibly one floating above the chryselephantine statue of Chancandre the First in the corner of your room right now – just beside the Bechstein Grand piano, floating and giggling even as you read these words.

Actually you can look now if you like because you can’t see them. You need an interdimensional viewing device to do that. Fortunately though, you have one. Or you nearly do. With a few little adjustments (which the software will make for you) your 3DS can be converted into just such a device. The kinematic below demonstrates how it works.

Once you have captured a few denpa ningen you can start your adventure. Denpa Ningen has always been a dungeon crawler, but this new version adds Doubutsu no Mori-like elements. You buy an island, and build your own house, and then expand and furnish it. You fish. But mostly you crawl dungeons because that is the way you make the money to do the other things.

Also you run into situations such as the forest being infested with bakemono that prevent the builders from getting wood. So if you want them to build for you you need to go make the forest safe by clearing out the monsters.

And some of the monsters are very interesting for example, when did you last fight a giant cake boss?

怪物のケーキ
I’ve seen some crazy monsters but this one takes the…

What about the Japanese-learning side of the game? Well, as you see from the screenshot above, the game has furigana which is one of the things I always look for in a game. Of course you wouldn’t need them on this particular screen, but there are many where they make life much easier.

denpa ningen party

There is a lot of text in the game. While you will be spending time dungeon-crawling your kawaii party meets with various dungeon denizens (other than monsters) quite frequently and the in-game dialog density, while not up to visual novel standards is on a par with many RPGs.

There is also quite a bit of voice acting which makes for some listening practice. The voices are kind of – well you know how little critters tend to talk. But then since we are all learning Japanese to make the acquaintance of cute little critters anyway, we’d better get used to it, ne?

denpa ningen RPG free

The game makes full use of the 3DS’s power. By which I don’t mean anything boring and technical. I mean it transports you into a pretty, charming 3D world-in-a-box. That is what the 3DS is for. If you wanted zombies and poorly-shaven shocktroops in photo-real (but flat) worlds you really bought the wrong toy. 3DS is a Magic Box that is bigger inside than outside and is just made to contain love and charm and cuteness.

And it talks to you in Japanese, because it loves you. And it gives you games like Denpa Ningen no RPG Free – free. And you are happy.

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Note: You need to have a Japanese NNID in order to download this free game. Don’t worry – this article tells you all about how to do that.