Author | James W. Heisig |
---|---|
Language | English, with translations into Dutch, French, Spanish, Polish, Portuguese, German, Italian, Hungarian, and Hebrew. [1] |
Series | Remembering the Kanji |
Publisher | University of Hawai'i Press |
Publication date | Sixth Edition: 3rd printing, 2015. Fifth Edition: 2008 |
Publication place | United States |
Pages | 484 (6th edition) |
ISBN | 978-0-8248-3592-7 |
Remembering the Kanji is a series of three volumes by James Heisig, intended to teach the 3,000 most frequent Kanji to students of the Japanese language. The series is available in English, French, German, Dutch, Spanish, Polish, Portuguese, Hungarian, Italian, Swedish, and Hebrew. [2] There is a supplementary book, Remembering the Kana, which teaches the Japanese syllabaries (hiragana and katakana). Remembering the Hanzi, by the same author, is intended to teach the 3,000 most frequent Hanzi to students of the Chinese language. This book has two variants: Remembering Simplified Hanzi [3] and Remembering Traditional Hanzi, each in two volumes.
The method differs markedly from traditional rote-memorization techniques practiced in most courses. The course teaches the student to utilize all the constituent parts of a kanji's written form—termed "primitives", combined with a mnemonic device that Heisig refers to as "imaginative memory". Each kanji (and each non-kanji primitive) is assigned a unique keyword. A kanji's written form and its keyword are associated by imagining a scene or story connecting the meaning of the given kanji with the meanings of all the primitives used to write that kanji. The method requires the student to invent their own stories to associate the keyword meaning with the written form. The text presents detailed stories in Part I, proceeding through Part II with less verbose stories. This is to encourage the student to use the stories as practice for creating their own. After the 547 kanji in Parts I and II, the remainder of the kanji in Part III have the component keywords but no stories. However, in cases where the reader may be easily confused or for difficult kanji, Heisig often provides a small story or hint.
All the kanji are analyzed by components—Heisig terms these "primitives"—which may be traditional radicals, other kanji themselves, or a collection of strokes not normally identified as independent entities. The basic primitives are introduced as needed throughout the book. This order is designed to introduce the kanji efficiently by building upon the primitives and kanji already learned, rather than learning the kanji based on the order of their frequency or the dictates of the jōyō kanji grading system. In volume 2, Heisig groups roughly half the kanji according to "signal primitives" that signal a certain Chinese reading (cf radical). There will be one or more exceptions to this rule. These are presented by Heisig in an increasing order of difficulty. The remainder of the Chinese readings are introduced in separate chapters, designed to help the student learn the readings from everyday words and useful compounds.
The first book in the series, commonly known as RTK1, was originally published in 1977. The sixth edition of the book was released in 2011. In the book, Heisig presents a method for learning how to associate the meaning and writing of 2,200 kanji, including most of the jōyō kanji, as well as some additional kanji. There is no attention given to the readings of the kanji as Heisig believes that one should learn the writing and meaning first before moving on to the readings in Volume II.
A sixth edition was released in April 2011. The sixth edition includes corrections for all errata [4] from prior editions, as well as additional kanji from the 2010 significant revision to the Jōyō kanji. The additional kanji in the sixth edition have also been made into a supplement for older editions. [5] Likewise, RTK2 and RTK3 have been updated in 2012 to reflect these changes.
Author | James W. Heisig |
---|---|
Language | English, with translations into Spanish and German. [6] |
Series | Remembering the Kanji |
Publisher | University of Hawai'i Press |
Publication date | Fourth Edition: 1st printing, April 2012. Third Edition: 13th printing, 2008 |
Publication place | United States |
Pages | 405 (4th edition) |
ISBN | 978-0-8248-3669-6 |
The second book in the series, often referred to as RTK2, is the second in the Remembering the Kanji. Volume II presents the official readings of the kanji introduced in Volume I.
Unlike the first volume, this book does not rely on "imaginative memory". The book is mainly focused on the Chinese readings, however one chapter does suggest a mnemonic device for learning the Japanese readings. Heisig splits the kanji into various chapters, according to the most appropriate method to learn their readings. For each Chinese reading of a kanji, an example compound word is given.
Author | James W. Heisig |
---|---|
Language | English |
Series | Remembering the Kanji |
Publisher | University of Hawai'i Press |
Publication date | Third edition: 1st printing, 2012. Second edition: 2nd printing, 2008 |
Publication place | United States |
Pages | 360 pages (3rd edition) |
ISBN | 978-0-8248-3702-0 |
The third book, commonly referred to as RTK3, is the third in the Remembering the Kanji book series by James Heisig. This volume was co-authored by Tanya Sienko.
Volume 3 presents a further 800 kanji in addition to the 2,200 kanji introduced in Volume 1 and Volume 2. It is split into two parts. The first part is in the style of Volume I, where the writing and keywords are learned. The majority of the new kanji are introduced according to their traditional radical. The other part is in a similar style to Volume 2, where the readings of the kanji are learned.
Remembering the Kana: A Guide to Reading and Writing the Japanese Syllabaries in 3 hours each [7] is a book by James Heisig for remembering hiragana and katakana. It uses mostly the same imaginative memory technique as Remembering the Kanji I, though some katakana are prompted to be learned as simplified forms of their hiragana counterparts.
Remembering the Kana succeeds the book Remembering the Hiragana: A Complete Course on How to Teach Yourself the Japanese Syllabary in 3 Hours, [6] which only taught the hiragana (and not the katakana).
Heisig and Timothy Richardson have also written Remembering Simplified Hanzi 1 [8] and Remembering Traditional Hanzi 1, [9] which apply the same method to Chinese. Volume 2 of each book was published in 2012. [10] [11]
Furigana is a Japanese reading aid consisting of smaller kana printed either above or next to kanji or other characters to indicate their pronunciation. It is one type of ruby text. Furigana is also known as yomigana (読み仮名) and rubi in Japanese. In modern Japanese, it is usually used to gloss rare kanji, to clarify rare, nonstandard or ambiguous kanji readings, or in children's or learners' materials. Before the post-World War II script reforms, it was more widespread.
Hiragana is a Japanese syllabary, part of the Japanese writing system, along with katakana as well as kanji.
Katakana is a Japanese syllabary, one component of the Japanese writing system along with hiragana, kanji and in some cases the Latin script.
Kana are syllabaries used to write Japanese phonological units, morae. In current usage, kana most commonly refers to hiragana and katakana. It can also refer to their ancestor magana, which were Chinese characters used phonetically to transcribe Japanese ; and hentaigana, which are historical variants of the now-standard hiragana.
In the linguistic study of written languages, a syllabary is a set of written symbols that represent the syllables or moras which make up words.
Kanji are the logographic Chinese characters adapted from the Chinese script used in the writing of Japanese. They were made a major part of the Japanese writing system during the time of Old Japanese and are still used, along with the subsequently-derived syllabic scripts of hiragana and katakana. The characters have Japanese pronunciations; most have two, with one based on the Chinese sound. A few characters were invented in Japan by constructing character components derived from other Chinese characters. After the Meiji Restoration, Japan made its own efforts to simplify the characters, now known as shinjitai, by a process similar to China's simplification efforts, with the intention to increase literacy among the common folk. Since the 1920s, the Japanese government has published character lists periodically to help direct the education of its citizenry through the myriad Chinese characters that exist. There are nearly 3,000 kanji used in Japanese names and in common communication.
Man'yōgana is an ancient writing system that uses Chinese characters to represent the Japanese language. It was the first known kana system to be developed as a means to represent the Japanese language phonetically. The date of the earliest usage of this type of kana is not clear, but it was in use since at least the mid-7th century. The name "man'yōgana" derives from the Man'yōshū, a Japanese poetry anthology from the Nara period written with man'yōgana.
In the Japanese writing system, hentaigana are variant forms of hiragana.
James Wallace Heisig is a philosopher who specialises in the field of philosophy of religion. He has published a number of books on topics ranging from the notion of God in analytical psychology, the Kyoto School of Philosophy to contemporary inter-religious dialogue. His books, translations, and edited collections, which have appeared in 18 languages, currently number 90 volumes.
Okurigana are kana suffixes following kanji stems in Japanese written words. They serve two purposes: to inflect adjectives and verbs, and to force a particular kanji to have a specific meaning and be read a certain way. For example, the plain verb form 見る inflects to past tense 見た, where 見 is the kanji stem, and る and た are okurigana, written in hiragana script. With very few exceptions, okurigana are only used for kun'yomi, not for on'yomi, as Chinese morphemes do not inflect in Japanese, and their pronunciation is inferred from context, since many are used as parts of compound words (kango).
The modern Japanese writing system uses a combination of logographic kanji, which are adopted Chinese characters, and syllabic kana. Kana itself consists of a pair of syllabaries: hiragana, used primarily for native or naturalized Japanese words and grammatical elements; and katakana, used primarily for foreign words and names, loanwords, onomatopoeia, scientific names, and sometimes for emphasis. Almost all written Japanese sentences contain a mixture of kanji and kana. Because of this mixture of scripts, in addition to a large inventory of kanji characters, the Japanese writing system is considered to be one of the most complicated currently in use.
Gyaru-moji or heta-moji is a style of obfuscated (cant) Japanese writing popular amongst urban Japanese youth. As the name gyaru-moji suggests, this writing system was created by and remains primarily employed by young women.
In modern Japanese, ateji principally refers to kanji used to phonetically represent native or borrowed words with less regard to the underlying meaning of the characters. This is similar to man'yōgana in Old Japanese. Conversely, ateji also refers to kanji used semantically without regard to the readings.
A is a Japanese kana that represents the mora consisting of single vowel. The hiragana character あ is based on the sōsho style of kanji 安, while the katakana ア is from the radical of kanji 阿. In the modern Japanese system of alphabetical order, it occupies the first position of the alphabet, before い. Additionally, it is the 36th letter in Iroha, after て, before さ. The Unicode for あ is U+3042, and the Unicode for ア is U+30A2.
Shinjitai are the simplified forms of kanji used in Japan since the promulgation of the Tōyō Kanji List in 1946. Some of the new forms found in shinjitai are also found in simplified Chinese characters, but shinjitai is generally not as extensive in the scope of its modification.
In Japanese language, Ryakuji are colloquial simplifications of kanji.
Wi is an obsolete Japanese kana, which is normally pronounced in current-day Japanese. The combination of a W-column kana letter with ゐ゙ in hiragana was introduced to represent in the 19th century and 20th century. It is presumed that 'ゐ' represented, and that 'ゐ' and 'い' represented distinct pronunciations before merging to sometime between the Kamakura and Taishō periods. Along with the kana for we, this kana was deemed obsolete in Japanese with the orthographic reforms of 1946, to be replaced by 'い/イ' in all contexts. It is now rare in everyday usage; in onomatopoeia and foreign words, the katakana form 'ウィ' (U-[small-i]) is used for the mora.
Hyōgaiji, also known as hyōgai kanji (表外漢字), is a term for Japanese kanji outside the two major lists of jōyō kanji, which are taught in primary and secondary school, and the jinmeiyō kanji, which are additional kanji that are officially allowed for use in personal names. The term jōyōgai kanji (常用外漢字) is also encountered, but it designates all the kanji outside the list of jōyō kanji, including the jinmeiyō kanji.
The Japanese script reform is the attempt to correlate standard spoken Japanese with the written word, which began during the Meiji period. This issue is known in Japan as the kokugo kokuji mondai. The reforms led to the development of the modern Japanese written language, and explain the arguments for official policies used to determine the usage and teaching of kanji rarely used in Japan.
The Chinese family of scripts includes writing systems used to write various East Asian languages, that ultimately descend from the oracle bone script invented in the Yellow River valley during the Shang dynasty. These include written Chinese itself, as well as adaptations of it for other languages, such as Japanese kanji, Korean hanja, Vietnamese chữ Hán and chữ Nôm, Zhuang sawndip, and Bai bowen. More divergent are the Tangut script, Khitan large script, Khitan small script and its offspring, the Jurchen script, as well as the Yi script, Sui script, and Geba syllabary, which were inspired by written Chinese but not descended directly from it. While written Chinese and many of its descendant scripts are logographic, others are phonetic, including the kana, Nüshu, and Lisu syllabaries, as well as the bopomofo semi-syllabary.