Best 136 quotes in «japanese quotes» category

5.6.2. Egocentricity "The linguistic phenomenon of evidentiality reflects a strong awareness of the self in Japanese language usage, however primordial and simplistic such a notion may be. In order to use the language appropriately, the speaker needs to be aware of the distinction between self and all others. This fact runs counter to many researchers in anthropology, linguistics, and sociology who contend that the Japanese people lack the concept of the individualistic self akin to the Western notion of self. Some even insist that Japan is a "selfless" society. Actual observation of Japanese society clearly demonstrates these notions to be myths. Quite the contrary, Japanese is a highly egocentric language, in which the presence of "I" as the speaker is so obvious as to not have to be expressed overtly.

A feeling of liberation should contain a bracing feeling of negation, in which liberation itself is not negated. In the moment a captive lion steps out of his cage, he possesses a wider world than the lion who has known only the wilds. While he was in captivity, there were only two worlds to him; the world of the cage, and the world outside the cage. Now he is free. He roars. He attacks people. He eats them. yet he is not satisfied, for there is no third world that is neither the world of the cage nor the world outside the cage. Etsuko however, had in her heart not the slightest interest in these matters. Her soul knew nothing but affirmation.

A faint tear wet Meiko's eye, so slight a bit of moisture that it passed unseen by Yasuko. Yet all the anguish of which she never spoke was compressed into that single drop

a broken mirror tries hard to fix itself everytime she smiles at it

Allowing ourselves to become pure point of view, we hang in midair over the city. What we see now is a gigantic metropolis waking up. Commuter trains of many colors move in all directions, transporting people from place to place. Each of those under transport is a human being with a different face and mind, and at the same time each is a nameless part of the collective identity. Each is simultaneously a self-contained whole and a mere part. Handling this dualism of theirs skillfully and advantageously, they perform their morning rituals with deftness and precision: brushing teeth, shaving, tying neckties, applying lipstick. They check the morning news on TV, exchange words with their families, eat, defecate.

After all, things thought but left unsaid only fester inside you.

Aina liikkeellä. Aina ikävä kotiin. Tuolla kaukana soutaa avomerta päin tulipunainen laiva.

...and where shall we go from here? The Library is vast and infinite.

Als ich sehe, wie Harus Haar verspielt im Wind tanzt und völlig zerzaust wird, und das, obwohl das Grau da draußen doch bleischwer in der Luft lastet, erkenne ich auf einmal, wie weit, weit weg die Vergangenheit ist. Weiter als der Tod, ja weiter sogar als die unüberbrückbare Distanz, die zwischen zwei Menschen besteht.

Although Swedish is one of the few languages on this Earth that I enjoy the sound of. That and Japanese. French is all right, Italian is tolerable depending on who’s speaking it. Everything else makes me cringe. Even English with some accents is bad. Australian? Spare me.

Although there is no precise word for it in Japanese, a sort of "vicarious seppuku" was practiced during the Sengoku Jidai (The Era of Warfare) with the aim of saving the lives of many by the sacrifice of one life, often that of the most responsible person. For example, when Hideyoshi was warring with Mori Motonari, he decided to try to effect a reconciliation with the latter. At that time, Hideyoshi had under siege one of Mori's castles, which was commanded by Shimizu Muneharu. Hideyoshi offered to spare the rest of the garrison if Lord Mori would have Shimizu commit seppuku, to which Mori agreed. Connected to this episode is a moving example of junshi: On the eve of Shimizu's seppuku, his favorite vassal Shirai sent a request that Shimizu visit his room. When Shimizu arrived, Shirai apologized for having his master visit his humble quarters and explained that he had wanted to reassure his master that seppuku was not difficult and that he, Shimizu, should not be concerned about what he would have to do on the morrow. So saying, Shirai bared his abdomen to show that he himself had completed the act of seppuku only a moment before Shimizu's arrival. Shimizu gave Shirai his deepest thanks for his loyal devotion and assisted him in kaishaku, i.e., he beheaded him with his sword.

And yet, as you all know, joining humanity is never a simple matter. By beginning to live the same temporality as Westerners, the Japanese now had to live two temporalities simultaneously. On the one hand, there was Time with a capital "T," which flows in the West. On the other hand, there was time with a small "t," which flows in Japan. Moreover, from that point on, the latter could exist only in relation to the former. It could no longer exist independently, yet it could not be the same as the other, either. If I, as a Japanese, find this new historical situation a bit tragic, it's not because Japanese people now had a live in two temporalities. It's rather because as a result of having to do so, they had no choice but to enter the asymmetrical relationship that had marked and continues to mark the modern world—the asymmetrical relationship between the West and the non-West, which is tantamount, however abstractly, to the asymmetrical relationship between what is universal and all the rest that is merely particular.

And then there was her face: her white skin, her brown eyes, and her expression, so soft and beautiful; she looked as though she were constantly getting ready to ask a question. Even an immaculately crafted doll could not have been as lovely.

As there is no official textbook or guide for the JLPT N3 level this study guide has been created to help fill an information gap

A small frosted glass of umeshu (plum wine) sat on a white paper coaster toward the top. The syrupy wine, actually made from small Japanese apricots, had a honeyed smoothness and a fruity finish that left behind a streak of warmth.

A veces, cuando me levanto y me miro en el espejo, me parece estar viendo a otra persona. Si no ando con cuidado, esa persona me va a ir dejando atrás.

Baby Boomers represent the largest and wealthiest market consumer segment in the Japanese economy

[...] before you can control your opponent's body you must first control his mind. (Page 17).

Be as vigilantly on guard against translating such a sentence into the passive voice as you would against committing murder.

Calligraphy is an art form that uses ink and a brush to express the very souls of words on paper.

But even more than her diary, Shimamura was surprised at her statement that she had carefully cataloged every novel and short story she had read since she was fifteen or sixteen. The record already filled ten notebooks. "You write down your criticisms, do you?" "I could never do anything like that. I just write down the author and the characters and how they are related to each other. That is about all." "But what good does it do?" "None at all." "A waste of effort." "A complete waste of effort," she answered brightly, as though the admission meant little to her. She gazed solemnly at Shimamura, however. A complete waste of effort. For some reason Shimamura wanted to stress the point. But, drawn to her at that moment, he felt a quiet like the voice of the rain flow over him. He knew well enough that for her it was in fact no waste of effort, but somehow the final determination that it had the effect of distilling and purifying the woman's existence.

Dad says there are more than three thousand letters in the Japanese alphabet, which could pose a problem. There are only twenty-six letters in the English alphabet, and I get into enough trouble with them as it is.

Education marketers have to begin to communicate with many new cultures and to quickly understand what they like, dislike and how to entice them to enrol and study with their institution, against a backdrop of formidable new competition

En tunne enää ystäväni sydäntä. Vain luumunkukat yhä tuoksuvat niin kuin tuoksuivat kerran ennen.

For centuries, the Japanese have been a great influence on how we can incorporate nature into our homes by incorporating natural fibers and materials and blurring the boundaries between indoors and out. The Japanese emphasis on connecting with nature comes from the roots of the Shinto religion. Shinto temples incorporated the belief that Kami (Shinto gods or deities) live inside of every living thing, from the mountains to water to rocks and trees. To be closer to Kami the Shinto temples were built around trees, rocks, and mountains in harmony with nature.

At this place in time, neither of them were foreign to each other. They were just two humans alone in the middle of the sky. The differences between them now were immaterial, like the faint whisper of traffic far below.

bodhi tree dreams of enjoying the picnic with buddha's family

By means of microscopic observation and astronomical projection the lotus flower can become the foundation for an entire theory of the universe and an agent whereby we may perceive the Truth. And first we must know that each of the petals has eighty-four thousand veins and that each vein gives eighty-four thousand lights.

Dinner that night is a feast of flavor. To celebrate the successful exorcism, Kagura has cooked several more dishes than the shrine's usual, simple fare- fragrant onigiri, balls of rice soaked in green tea, with umeboshi- salty and pickled plums- as filling. There is eggplant simmered in clear soup, green beans in sesame sause, and burdock in sweet-and-sour dressing. The mood is festive.

Eating a meal in Japan is said to be a communion with nature. This particularly holds true for both tea and restaurant kaiseki, where foods at their peak of freshness reflect the seasonal spirit of that month. The seasonal spirit for November, for example, is "Beginning Anew," because according to the old Japanese lunar calendar, November marks the start of the new tea year. The spring tea leaves that had been placed in sealed jars to mature are ready to grind into tea. The foods used for a tea kaiseki should carry out this seasonal theme and be available locally, not flown in from some exotic locale. For December, the spirit is "Freshness and Cold." Thus, the colors of the guests' kimonos should be dark and subdued for winter, while the incense that permeates the tearoom after the meal should be rich and spicy. The scroll David chose to hang in the alcove during the tea kaiseki no doubt depicted winter, through either words or an ink drawing. As for the flowers that would replace the scroll for the tea ceremony, David likely would incorporate a branch of pine to create a subtle link with the pine needle-shaped piece of yuzu zest we had placed in the climactic dish. Both hinted at the winter season and coming of New Year's, one of David's underlying themes for the tea kaiseki. Some of the guests might never make the pine needle connection, but it was there to delight those who did.

Education is highly respected in Japan and so there is a cultural desire to be highly educated which drives Japanese to undertake study, particularly English

Everything in my life revolves around people playing at being something.

Fish at breakfast is sometimes himono (semi-dried fish, intensely flavored and chewy, the Japanese equivalent of a breakfast of kippered herring or smoked salmon) and sometimes a small fillet of rich, well-salted broiled fish. Japanese cooks are expert at cutting and preparing fish with nothing but salt and high heat to produce deep flavor and a variety of textures: a little crispy over here, melting and juicy there. Some of this is technique and some is the result of a turbo-charged supply chain that scoops small, flavorful fish out of the ocean and deposits them on breakfast tables with only the briefest pause at Tsukiji fish market and a salt cure in the kitchen. By now, I've finished my fish and am drinking miso soup. Where you find a bowl of rice, miso shiru is likely lurking somewhere nearby. It is most often just like the soup you've had at the beginning of a sushi meal in the West, with wakame seaweed and bits of tofu, but Iris and I were always excited when our soup bowls were filled with the shells of tiny shijimi clams. Clams and miso are one of those predestined culinary combos- what clams and chorizo are to Spain, clams and miso are to Japan. Shijimi clams are fingernail-sized, and they are eaten for the briny essence they release into the broth, not for what Mario Batali has called "the little bit of snot" in the shell. Miso-clam broth is among the most complex soup bases you'll ever taste, but it comes together in minutes, not the hours of simmering and skimming involved in making European stocks. As Tadashi Ono and Harris Salat explain in their book Japanese Hot Pots, this is because so many fermented Japanese ingredients are, in a sense, already "cooked" through beneficial bacterial and fungal actions. Japanese food has a reputation for crossing the line from subtlety into blandness, but a good miso-clam soup is an umami bomb that begins with dashi made from kombu (kelp) and katsuobushi (bonito flakes) or niboshi (a school of tiny dried sardines), adds rich miso pressed through a strainer for smoothness, and is then enriched with the salty clam essence.

For everything sacred has the substance of dreams and memories, and so we experience the miracle of what is separated from us by time or distance suddenly being made tangible.

For dinner, he serves dishes such as raw local fish accented with touches like fresh basil and balsamic vinegar; roasted pumpkin soup laced with ishiri; fat, chewy handmade spaghetti with tender rings of squid on a puddle of ink enhanced with another few drops of fish sauce. It's what Italian food would be if Italy were a windswept peninsula in the Far East. If dinner is Ben's personal take on Noto ingredients, breakfast still belongs to his in-laws. It's an elaborate a.m. feast, fierce in flavor, rich in history, dense with centuries of knowledge passed from one generation to the next: soft tofu dressed with homemade soy and yuzu chili paste; soup made with homemade miso and simmered fish bones; shiso leaves fermented kimchi-style, with chilies and ishiri; kaibe, rice mixed with ishiri and fresh baby squid, pressed into patties and grilled slowly over a charcoal fire; yellowtail fermented for six months, called the blue cheese of the sea for its lactic funk. The mix of plates will change from one morning to the next but will invariably include a small chunk of konka saba, mackerel fermented for up to five years, depending on the day you visit. Even when it's broken into tiny pieces and sprinkled over rice, the years of fermentation will pulse through your body like an electric current.

For those wanting a better understanding of Japan and Japanese culture, this is a good visual reference

From outside the shelter came children's voices. The shrill squeals brought the excitement of their unseen game into the opaque quiet of Setsuko's world and made her smile. "No war can go on forever. And human beings are the toughest creatures on earth, you know. There's no sense in being in a hurry to die. You MUST LIVE, whatever happens." Shoichi Wakui had squeezed her hand and told her this with an almost violent urgency, though his grasp was weak and his voice halting. Were those the Sugiwaras' children she could hear? The barber had had the presence of mind to rescue his kit when he fled through the flames of his burning shop, and now he was doing a brisk trade, seating his customers on cushions atop piled stones from the foundations. To house his family he'd put a lean-to against the railway embankment, barely enough to keep out the weather, but at least the children were no longer starving. Even in defeat the locally garrisoned soldiers all had some supplies of food, and while waiting to board trains for their hometowns from Yokohama Station they'd sit on the stone seat of the Sugawara Barbershop and have a good shave, leaving the children something to eat as payment. Setsuko no longer felt the rage that had overwhelmed her at the disbanding ceremony. If they had fought on home ground, one hundred million Japanese sworn to die before they would surrender, those children would have had to die too. Those young lives and spirits would have been extinguished in terror and pain and they wouldn't even have understood why. They have a right to go on living, and the strength to do it, Setsuko thought. For their sakes, if no one else's, I should rejoice that the war ended before an invasion reached the home front. Shoichi Wakui's words came back clearly: "Even when a war is lost, people's lives still go on." And Naomis, in the gray notebook: "Every war comes to an end, and when peace is restored Paris rises like a phoenix." But what about those who'd already died? It was agony to think of those who would not rise: the dead would be left where they fell at the ends of the earth while the living would come home with their knapsacks of clothing and food. Whether they had gone to the front or stayed at home, the people had staked their lives for country and Emperor, and after they had lost, the country and the Emperor were still there. Then what had it all meant? Adrift and floundering in despair, Setsuko slipped back into a restless sleep.

Gaman is a documentary that revealed the four year study experience of a Japanese student who left Japan to study in Australia and then returned home with a foreign qualification

Great art projects a sense of inexhaustibility. In literature, particularly in poetry, this may be accomplished through ambiguity: Beneath each and every meaning that I can descry lie others, so that rereading holds out the prospect of new subtleties, inversions, secret codes and ineffabilities

His smiling face revealed a love too strong to be kept inside, but the feelings obviously rising inside him kept him from looking directly at Kikunojou. He gazed instead at Kikunojou's clear reflection on the water.

Be quick as another may be waiting

i don't know who proposed first all that i remember is her smile and his shyness says love

If our life did not fade and vanish like the dews of Adashino’s graves or the drifting smoke from Toribe’s burning grounds, but lingered on for ever, how little the world would move us. It is the ephemeral nature of things that makes them wonderful.

I have been brought up in a world dominated by honor. I have known neither crime, poverty, nor betrayal, and here I taste hatred for the first time: it is sublime, like a thirst for justice and revenge." -the girl who played go

Ikivihreitten humisevien mäntyjen varjossa katson epäuskoisena kukkien lyhyttä kukoistusta.

For Sayonara, literally translated, 'Since it must be so,' of all the good-bys I have heard is the most beautiful. Unlike the Auf Wiedershens and Au revoirs, it does not try to cheat itself by any bravado 'Till we meet again,' any sedative to postpone the pain of separation. It does not evade the issue like the sturdy blinking Farewell. Farewell is a father's good-by. It is - 'Go out in the world and do well, my son.' It is encouragement and admonition. It is hope and faith. But it passes over the significance of the moment; of parting it says nothing. It hides its emotion. It says too little. While Good-by ('God be with you') and Adios say too much. They try to bridge the distance, almost to deny it. Good-by is a prayer, a ringing cry. 'You must not go - I cannot bear to have you go! But you shall not go alone, unwatched. God will be with you. God's hand will over you' and even - underneath, hidden, but it is there, incorrigible - 'I will be with you; I will watch you - always.' It is a mother's good-by. But Sayonara says neither too much nor too little. It is a simple acceptance of fact. All understanding of life lies in its limits. All emotion, smoldering, is banked up behind it. But it says nothing. It is really the unspoken good-by, the pressure of a hand, 'Sayonara.

Fucking bastard, I'll stab you in the chest with this pencil.

Haiku does not express emotion from the inside out by displaying the mind of a character. Haiku builds the emotional thrust, makes the artistic statement from the outside in, from the physical world to the mind of the reader.

Here's my impression of you when we met the other day: you HAVE changed completely--but I wish you hadn't. I think I understand why you're on your best behavior at school, and I suppose I ought to praise you for showing such an improvement, but please don't force yourself to change too much. Please, at least when you're with me, be the same bright Naomi who chats about everything under the sun. You and I have grown up in different environments, we have different lives, and we also think differently--yet in spite of all these differences I'm sure we can be the best of friends. One day we may come to share the same ideas, but I'd like to believe that it's a natural growing together.

However keen you may be to begin your study, before you venture on to the mat and attempt any of the basic techniques it is necessary to know something of the principles that govern aikido, for unless you do understand a little about posture, movement, balance, gentleness and courtesy, you will not be a satisfactory pupil. (Page 18).