|28 » Giles Murray||Tokyo||Date: 22.03.2012 Time: 12:43:51|
Thank you for your support of this site. It is now closed for comments. I hope to be launching some kind of Japanese literature app soon, so keep your eyes peeled.
|26 » Brandon||South Carolina||Date: 02.12.2008 Time: 18:40:49|
I just thought it was unusual to see これから会いに行く女を、なまなましく覚えている in the middle of a sentence. When I first read the sentence, I read it as your editor suggested. I didn't think the Japanese used dashes or similar marks, so I didn't find it terribly surprising that Kawabata would set it off with commas. However, when I reviewed the sentence, I started wondering whether perhaps Kawabata had intended oboete iru to be in its rentaikei, modifying some noun or pseudo-noun. I have yet to ask a native speaker about it, but I probably will soon just to be sure.
On a side note, I've spent the past two days reading about "head-internal relative clauses" (HIRCs) and "integrated adverbial clauses" in Japanese and I'm just about ready to jump out of my window. They almost defy logical analysis. Japanese, it seems, only gets more and more difficult the more I read.
Reply from Author: "Head-internal relative clause" sounds like some sort of sinister brain tumor!
|25 » Giles Murray||Date: 02.12.2008 Time: 00:04:53|
Sorry to be so slow in getting back to you.
I respect your scrupulosity in trying to turn a single sentence in the Japanese into a single sentence in English. As you point out, I broke it up into several separate sentences, in part reflecting breaks in the Japanese (though I concede they're not sentences breaks), in part just a stylistic preference. (I think the Japanese rhythm can be recreated better with a succession of short, clear, somewhat repetitive sentences than with a single sentence that might run the risk of becoming opaque and sluggish as it gets longer.) I believe the 'bewildering simplicity' or 'opaque limpidity' we see here is a deliberate ‘echo’ of classical Japanese on Kawabata's part.
I think the '...kanoyoudato' links to the following 'fushigini omoinagara,' with 'ka' indicating an indirect question or a degree of uncertainty, and the 'no you' (as if) making clear that Shimamura's speaking metaphorically (the finger isn't really summoning him).
|24 » Michael Staley||Tokyo||Date: 17.11.2008 Time: 03:22:45|
This is a very, very hard sentence. But to answer your question, I don't think "oboete iru" modifies anything here; you can almost think of the sentence ending right there—oboete iru—with a period. In any case, I see no way that it could modify "ka no you."
I think what Shimamura found to be amazing was that his finger seemed to be summoning him to the woman, not that it remembered her. Nevertheless, your translation seems close enough.
|23 » Giles Murray||Tokyo||Date: 15.11.2008 Time: 13:09:29|
I am currently crisscrossing Japan with my mother. Give me a little while to get back to you.
|22 » Brandon||South Carolina||Date: 14.11.2008 Time: 06:36:02|
The post below should read simply "you" where I have "ka no you"
|21 » Brandon||South Carolina||Date: 14.11.2008 Time: 04:57:14|
Today I started reading Snow Country Miniature and wow! What a sentence on the second page!! I think you broke it up into five in your translation. For the most part, I feel comfortable with it, but I do have a question. Here's the part concerned in Japanese:
I'm going to ignore the "nagara" attached to "omoi" at the end and translate this part as though it were a single sentence:
Amidst the unreliability of his own memory, which, without anything to grab hold of, became increasingly dimmer the more he struggled to recall her clearly, he thought it amazing that, in the end, this finger alone seemed to remember vividly the woman he was going to meet-- that it seemed to summon him to her over a great distance, and to be even now moist with her touch.
I realize that this isn't the best translation, but I'm trying to stick to the Japanese as closely as possible in order to frame my question, which is simply this: Does "oboete iru" modify "kano you"? Obviously, my translation hinges upon this.
I'll try to keep posting translations since I know you stated in your book, Giles, that you wanted to see what other people could come up with.
|20 » Fred||Date: 17.06.2008 Time: 11:01:22|
Hi evryone, a tough question...
I'm really interested in the theme of metamorphosis in literature. I've read Ovid and Kafka, If I recall correctly is there a special literary Japnese word realted to metamorphosis or transition? Are there any japanese novels which deal with metamorphosis? I've already read Uzumaki (spiral) which is a very interesting graphic novel on the concept.
Also are there any Japanese authors which can be compared to the 'magic realism' of S America or even Kafka? you know, like when something is said with a tone of normality even though it is very very strange:
i.e: "One day Gregor Samsa awoke to find that he's been transformed into a monstrous beetle"
Thnk you so so so much
Reply from Author: Hi Fred,
|19 » Bernhard||Vienna||Date: 22.04.2008 Time: 15:44:53|
What is the difference between 瞳, 眼, 目. When can one use those?
And why did Kawabata write 夜光虫?
Does it sound more poetic?
The more difficult the kanji the more poetic? And in such a case is it better for Japanese readers if there are no furigana. Because they feel pleasure in discovering meaning of difficult kanji? (Like Jay Rubin wrote in his book?)
Reply from Author: Bernhard