Memoirs of a Dork

An outlet into the vast cognitive universe of a dork.

Monday, July 24, 2006

To Know You Is To Love You

I received the link to this article in the LA Times from a fellow polyglot. Enjoy.

To Know You Is to Love You
A Korean-born reporter's embrace of an egalitarian English pronoun freed her from the hierarchal strictures of her native tongue.
By K. Connie Kang, Times Staff Writer
July 24, 2006


It's all about you.

I fell in love with this English pronoun when I first met it on my father's knees more than half a century ago in Seoul.

Initially, it was the sound that captivated me.

Later, as I continued to study English under my father's tutelage — he was a pioneering scholar of English and German at South Korea's Seoul National University — I began to love this three-letter word for the way it made me feel.

"Good morning to you," I said with emphasis whenever American and Canadian Presbyterian missionaries visited our home.

When they responded with a big smile and "Good morning to you too," I was in heaven.

You was an ally that empowered me.

It freed me from the encumbrances of my mother tongue, which is one of the world's most complicated and nuanced languages, laden with honorifics. You pushed me out of the confines of Confucian-steeped, hierarchal Korean language into a world of egalitarian impulses.

To be sure, Korean is a wonderfully poetic language, full of alliteration and onomatopoeia. And I love listening to well-spoken Korean.

But navigating it is another story.

Korean has no fewer than six speech levels — each with a unique set of verb endings to indicate the degree of formality, ranging from extremely polite to actively impolite — and many gradations in between.

Other languages employ varying degrees of address. For two of the world's more popular languages, two levels suffice — vous and tu in French, usted and in Spanish.

But Korean has four words for you. The irony is we go out of our way to find substitutes so we won't have to use them.

This formality — and the impulses to maintain or reject it — colors not just how many Korean Americans speak Korean, but our English. It's a spin on the classic tale of assimilation, when two cultures meet and create something uniquely American.

Sometimes it's an odd blend. Koreans are a communal people who prefer an unassuming "we" over a bold, American "I."

A Korean woman always refers to her husband as "our husband" — oori nampyon. And we say, "our mother, our father."

"In English, you can't imagine saying, 'our husband,' " said Kichung Kim of San Jose, a Korean American scholar and writer.

To the Korean ear, "our mother" creates a "connection to home, family and all that. That feeling is absent in English," Kim said. "The only time we say 'our father' in English is in the Lord's Prayer."

I have a friend who often ends our phone conversation with "Love you." After hearing me repeatedly reply, 'We do too,' my Anglo friend figured it out. "Your reluctance to say 'I' is a Korean thing."

You bet.

In English, birds sing. In Korean, birds cry. Traditional Korean songs are plaintive — played in minor keys. In English, nouns and verbs rule. In Korean, adjectives and adverbs do.

"Korean is so expressive and emotional," said Los Angeles-born Aram Kim, an honor student at Van Nuys High School who is studying at one of the many Korean-language schools in the region.

David Mo, a fellow student, agrees and says he'll take the Korean Ahn-young-ha-sae-yo (Are you well?) to "Hi" any day.

" 'Hi' is so simple," he said, explaining that the Korean greeting has depth.

Still, experts say that Korean, spoken by 79 million people worldwide and more than 1 million in the United States, is one of the most difficult languages to learn. Aram Kim acknowledges that even a routine query, such as "Have you eaten?" can get complicated in Korean.

To navigate this linguistic maze, we use our well-honed sixth sense called nunchi — literally, "measure of the eye" — to size up age, education and social and professional position.

Then, we choose from two types of language within the language: a "respectable" form known as jondae-mal, and informal talk called ban-mal, literally meaning "half-talk."

For me, you helped me bypass all that. The word let me enjoy conversations with people older than me — a rare thing in my culture, where older people talk and younger ones listen unless asked to speak.

I attended an American primary school when I lived in Asia, so I had the rare privilege of using the English you when I was a child, without offending Korean sensibilities.

When I came to the United States in 1961, blending American informality with Korean linguistic tradition wasn't an issue because there were so few Koreans to talk to.

These days in California's Korean community — estimated at 500,000, the largest outside Asia — many Korean Americans share my fondness for the all-too-embraceable you.

"You represents the essence of democracy," said attorney Tong S. Suhr, a community leader. "You liberates us from that [Korean] caste system, and it makes life so much easier."

Korean-born Kay S. Duncan, director of production with Jarrow Formulas in West Hollywood, says you helped transform her from a shy Asian woman who preferred to sit in the back of the room to an assertive executive equal to those around her.

"You can say, 'You did this, or you did that,' even if you're addressing the CEO of your company," Duncan said.

By contrast, Ho-min Sohn, professor of Korean linguistics at the University of Hawaii at Manoa, says he has never felt at home with this three-letter word.

Sohn, who came to the U.S. in 1965 from South Korea to work on a doctorate in linguistics, managed to get his degree without once using you when addressing his professors. It seemed so out of place for a student to claim equality with his professor.

Kim, the writer from San Jose, finds you more comfortable in writing than in speech.

Even in English, he said, "you seems a little abrupt. Koreans are careful with you because of our tradition. We are much more culturally and interpersonally civilized in discourses. We may be brutal in real life, but we, at least, have that pretense."

In Korean, you comes in at least four forms: gwiha, dangshin, jahnae and nuh. And yet none is quite like you.

Gwiha is "your excellency" and your honor" rolled into one, used to address a person in a high position.

Dangshin is the formal you, but it can be misconstrued if used carelessly. When a smiling wife calls her husband dangshin and snuggles up to him, it is a term of endearment.*

"But use it with a stranger," Suhr said, "and it becomes a 'fighting word.' " (Think of the classic New Yorkism, "What are you looking at?")

Jahnae is used among school chums or by older people addressing young adults, like a man talking to his son-in-law.

Nuh is for children and younger siblings.

But even with youths, if they're in high school, Koreans prefer to address them with the generic title haksaeng, meaning "student," over nuh.

We love titles. Sonsaeng-nim (honorable teacher) is a respectable title for all professionals over 40. Even journalists get titles. Koreans call me Kang kija-nim ("Honorable reporter Kang").

It gets more complicated speaking to people of high rank. A subordinate would not address his company's president in the second person, even the formal version.

Professor Sohn explains that when the subordinate wants to tell his boss, "It's time for you to go," he'll switch to the third person: "The honorable president should go."

But in Southern California, you pops up in the middle of Korean sentences, like an odd bead in a string of cultured pearls. Listen to Korean Americans talk in Korean restaurants and church gatherings and you witness an evolving Konglish where you plays a key role.

Among friends who are bilingual, one might say: "You-neun-uh-tuk-hae-saeng-gak-hae?"

Translation: "What do you think?"

Then there are those situations that seem to defy you — whether in English or Korean.

Kay Duncan's husband, historian John B. Duncan, is director of UCLA's Center for Korean Studies and a fluent Korean speaker. When they were dating and their two cultures began to clash as well as merge, John and Kay grappled with how they should address each other.

They considered dangshin (formal you) and informal nuh, as well as the English honey and yobo, the Korean equivalent of "dear" or "honey."

"Dangshin sounded cold and distant," he said.

"Honey gave me shivers," she said. It was too touchy-feely.

They settled on the French tu.

More than three decades later, they still start their birthday and Valentine cards with "Dear tu" and end with "Your tu."


http://www.latimes.com/news/printedition/la-me-you24jul24,1,7513851.story?page=1&cset=true&ctrack=1

* Japanese has a similar pronoun, anata, which is a formal way of saying "you" but generally only women use it in reference to their husbands, roughly equivalent of "dear" or "darling," and to their children. It is appropriate to use with strangers, unlike the Korean dangshin, since it literally means "your side." The Japanese love titles as well and will usually refer to each other by their family name plus -san, or if speaking with a respected professional, may use his or her title OR their family name plus sensei ("teacher"), if the person is very knowledgeable about his or her field of work.

Thursday, July 20, 2006

Shanghai Triad

I swear that I'm attempting to move away from the Japanese scene slowly in order to not turn this into a Japanaholic's blog. So, for a change, I would like to share a Canadian band by the name of the Shanghai Triad whose music is, as they describe it, "Chinese jazz and blues from the 1930's and 40's as well as Chinese folk songs with an eclectic and greasepaint-laden sensibility." Enjoy!

Sunday, July 09, 2006

RoboCup 2006

With the closing of the 2006 FIFA World Cup, I happened to come across this video when I was looking for videos of robots on youtube.com. I think it would be quite appropriate to share it. Enjoy.

Sunday, July 02, 2006

The Joys of Japanese: Part III

In an effort to keep it short, I will attempt to finish the rest of my discussion in this post.

I know nothing of the Chinese counterparts, but in both Chinese and Japanese, there are counting particles. These are used to count particular items based on their physical properties. There are hundreds of them, but the good news is that you don't have to know all of them. You can simple use the native Japanese counting system until you learn the more commonly used ones. The only catch is that they go up to ten. The native system goes 一つ hitotsu, 二つ futatsu, 三つ mittsu, 四つ yottsu, 五つ itsutsu, 六つ muttsu, 七つ nanatsu, 八つ yattsu, 九つ kokonotsu, and 十 too. Otherwise, you would use the correct counting particle. If you wish, for example, to count CDs, you would use the particle 枚 mai, which is used for objects of a thin and flat consistency, and would 'count' as such from one to ten...

一枚 ichimai
二枚 nimai
三枚 sanmai
四枚 yomai or yonmai
五枚 gomai
六枚 rokumai
七枚 shichimai or nanamai
八枚 hachimai
九枚 kumai or kyuumai
十枚 jumai

...All the way into infinity. The only hitch is that these counting particles (or the native numbers, if you chose those) must be prefixed to the CDs that are being counted with the particle の no, as in 十五枚のCD juugomai no CD, fifteen CDs, or they must follow the particle that modifies the word CDs and marks its grammatical function in the sentence, as in CDが十五枚あります CD ga juugomai arimasu, I have fifteen CDs. In the latter sentence, "ga" is a particle that marks CD as the subject of the sentence and is roughly equivalent to "Fifteen CDs exist" (if you translate it literally, you get "CDs--fifteen--exist) but is used to express the idea of having or owning the particular inanimate item. This particular counter may also be used to count things such as paper, plates, computer disks, boards, plywoods, mats, etc.

Before we move on to writing, I would like to quickly cover onomatopoeia in Japanese. If you do not remember from your English classes, onomatopoeia are words that represent sounds, such as BOOM! or woof. These are so widespread in Japanese that entire dictionaries are compiled explaining their usage. If you can think it, Japanese probably has onomatpoeia for it. Some examples of which I can think off of the top of my head are pyon pyon (the sound of jumping or hopping), wan wan (a dog bark, like "woof woof"), nyaa nyaa (a cat's meow, like "meow meow"), boro boro (the sound of a large object rolling; may also be used as an adverb to describe something as old and worn), doshin doshin (the sound of footsteps, heavier in particular), paku paku (eating in big bites or mouthfuls; the "pac" of "pacman" comes from this one), pika pika (the sound of something glittering; "pikachu" [Japanese, "pikachuu"] comes from this onomatopoeia plus the word for mouse, chuu), etc.

The sole reason that Japanese and Chinese have something in common would be due to the use of 漢字 kanji (or in modern Chinese, hànzì). It is for this reason, too, that Japanese has a seemingly infinite vocabulary of Chinese words. When the Japanese first began using these characters, they attempted to use the original Chinese pronunciation. However, there were a few problems. For one, Chinese used (as it still does) tones, which were lacking in Japanese. Many of the scholars sent to China to learn these characters ran into another problem because of the diverse dialects and differentiation in not only words but also tones. Secondly, hànzì were not designed for Japanese, and thus could not reflect the inflections on Japanese words and verbs. Finally, many sounds existed in Chinese that do not exist in Japanese (i.e., L, which is often transliterated as an R in Japanese, in accordance with the American English transliteration of the sound as it is often described as being a sound somewhere between the American English L and R sounds).

To compensate, the Japanese preserved the more common original Chinese readings used at the time. These are called 音読み on-yomi (literally, "Sound-readings"). Japanese readings were also assigned, which are called 訓読み kun-yomi (literally, "instructional-readings"). The general rule is that the on-yomi are used for compound nouns, such as 春夏秋冬 shunkashuutou, the four seasons (spring, summer, fall, winter), while the kun-yomi are used for individual native Japanese words, such as 人 hito, person. Many kanji have at least one on-yomi and one kun-yomi, but there are those that may have just an on-yomi but no kun-yomi, or vice-versa.

The general rule for the usage of Chinese words in Japanese is like the use of Latin in English: for formality. Compare:

Native Japanese: 読む yomu, to read
Sino-Japanese (Chinese): 読書する dokusho suru, to read

Native Japanese: 買う kau, to buy
Sino-Japanese (Chinese): 売買する baibai suru to buy, trade

It would be more common to hear the Native Japanese verbs above in colloquial (every day) Japanese, but you may hear the Sino-Japanese ones in more formal spoken Japanese. The Sino-Japanese verbs may be reserved more for literary use, particularly in a formal fashion, but it would not be unheard of to see the Native Japanese equivalents used in writing, albeit in less formal styles.

In some cases, they may also have a second meaning when the alternative Sino-Japanese reading is used, as seen with 売買する baibai suru. If you have ever heard the expression 今日は!konnichi wa!, Hello! or Good Day!, the konnichi (which is often mispronounced by non-native Japanese as if it were three syllables [ko-ni-chi] when it is actually four [ko-n-ni-chi]) is the alternative Sino-Japanese reading of kyou (today), but may also mean "modern" or "now-a-days." If you were to see it written in the context 今日はいいお天気ですね ("Nice weather today, isn't it?"), you would know that it is read kyou because, for one, the sentence-final particle ne is generally used in spoken Japanese, and in colloquial speech kyou is often preferred. If, however, you saw it written as 今日の日本 ("Japan Today") on a newspaper cover, you would know that the more formal konnichi would be required.

Finally, to solve the problem of a writing system that could not accurately show inflections to native words, kanji were arbitrarily used for their phonetic (vs. semantic) meaning. This became strenuous because many kanji are more than just a couple of strokes, and, to make a long story short, they developed 平仮名 hiragana and 片仮名 katakana, which are collectively called 仮名 kana. Originally the use of hiragana was limited to men, while women were only allowed, if even, to use katakana (thus the reason they were once called 女手 onna te, or "women's hand"). In modern times, hiragana are generally used for writing (1) 振り仮名 furigana, small characters that indicate the pronunciation of kanji with which one may not be familiar in a specific writing; (2) 送り仮名 okurigana ("send-out characters"), which are used to write verbal/adjectival suffixes; and (3) Japanese particles as well as native Japanese words that do not have kanji equivalents. Katakana are used to write words and names of foreign origin, and sometimes may be used as a stylistic choice to give emphasis to a word.

So those are some of the notable differences of Japanese. If you wish to know more about something specific, just ask and I'll write more on it.