Acceptance of Chinese Characters in Japan and the culture of translation
cytuj
pobierz pliki
RIS BIB ENDNOTEChoose format
RIS BIB ENDNOTEAdaptacja chińskich hieroglifów w Japonii a kultura przekładu
Publication date: 18.01.2017
Gdansk Journal of East Asian Studies, 2016, Issue 10, pp. 58 - 65
https://doi.org/10.4467/23538724GS.16.016.6173Authors
Adaptacja chińskich hieroglifów w Japonii a kultura przekładu
In the third century one part of elite of the ancient Japanese society adopted Chinese writing and began to learn it. It is assumed that at the beginning Japanese read Chinese characters following the sound patterns of the ancient Japanese language approximating the Chinese sounds. However, Japanese sounds applied the Chinese characters, and at the same time the word order was changed into Japanese word order. This was the beginning of kanbun kundoku, or Chinese writing with Japanese readings. The term ‘Japanese readings’ is used here in the sense of both: to read each individual character as a Chinese character, or, to read them replacing the word order of Chinese writing into a Japanese translation.
When Chinese characters were adopted for use in Japan, they were at first read as Chinese sounds with a Japanese pronunciation approximating that of the Chinese reading. Thereafter, this type of Japanese translation for individual readings of Chinese characters known as ‘kundoku’ began. ‘Kundoku’ (reading characters with their Chinese pronunciations) is still used today along with ‘ondoku’ for reading Chinese characters used in Japanese, i.e. in ‘kanbun kundoku’.
This first reading is important in the history of modern Japanese translation. The reason is that when Japanese first encountered western languages, this method of Chinese translation readings was used for English translation, French translation, and so on. In short, Japanese people created another style of written Japanese for translation, dating back to Chinese writing system, apart from the traditional ancient Japanese language system.
In Japan, however, after Chinese characters were introduced from China, Japanese created a style of native Japanese readings. Japanese translators have translated naturally according to their own logic and style.
L. Bloomfield, Language, New York 1933.
J. Tubielewicz, Historia Japonii, Wrocław 1984
Arai Hakuseki, Seiyō Kibun (西洋記聞), Tōkyō-to 1936.
Iwanami Shoten, Nihongo no rekishi,vol. 2, Tōkyō 1963
Komatsu Shigemi,Kana, Tōkyō 1968
Otsuki Gentaku, Rangaku Kaitei, vol. 1, Tōkyō 2000
Susumu Ōno, Iwanami koza: Nihongo, vol. 1, Tōkyō 1976
SusumuŌno,Nihongo no bunpō o kangaeru, Tōkyō 1978
Takao Suzuki, Tozasareta gengo,Nihongo no Seki, Tōkyō 1975
Tanizaki Jun’ichirō, Bunshō tokuhon,Tōkyō 1996
Yamagishi Akira, Nihon go Honyakuron, Tōkyō 2010
J. Munday, Introducing Translation Studies, Routledge 2008.
Information: Gdansk Journal of East Asian Studies, 2016, Issue 10, pp. 58 - 65
Article type: Original article
Titles:
Adaptacja chińskich hieroglifów w Japonii a kultura przekładu
Acceptance of Chinese Characters in Japan and the culture of translation
Kagawa University, Japan
Published at: 18.01.2017
Article status: Open
Licence: None
Percentage share of authors:
Article corrections:
-Publication languages:
PolishView count: 1839
Number of downloads: 1539